陈衍的“新诗”观及其后期诗学的特征

An Analysis of Chen Yan's View of “New Poetry” and the Characteristics of His Later Poetics

陈衍不但常以白话新词入诗,而且基本接受胡适创造的“白话诗”这一概念,在诗话中经常提及,这与他后期诗学的转向密切相关。前期的陈衍注重“学人之诗”,意在矫正诗歌质地单薄、情感空疏之弊,故提倡以“经史”来充实诗的根柢;后期他赞赏“诗人之诗”,则由于当时的部分旧诗刻意堆垛典故,以致窒息了感性,因而侧重强调诗要抒写性情,辞必己出。陈衍的诗学理论中本身就存在变革性的因素,如果平行对比胡适的《文学改良刍议》,能看出陈衍的持论与之极为相近。此外,陈衍论诗极为重视音乐性,这与现代派诗人对这一问题的看法殊途同归。只有结合新文化运动这一大背景来谈论后期陈衍的诗学,才能全面认识他与新诗理论之间的复杂关联。

Chen Yan not only often incorporated vernacular neologisms into his poems but also essentially embraced the concept of“vernacular poetry”coined by Hu Shi.He made regular reference to“vernacular poetry”in his poetry commentaries,a connection closely tied to his subsequent shift in his poetics.During the early phase,Chen Yan turned to the“poetry of scholars”to rectify the deficiencies of shadow texture and howllow emotion in poetry.He advocated for the inclusion of“classics and history”to enrich the foundation of poetry.In his later period,he observed that some contemporary poems at that time deliberately relied on excessive allusions,resulting in the stifling of sensibility.He extolled the virtues of the“poetry of poets”to emphasize that poetry should convey genuine sentiments and that poets must employ their own words.Chen Yan's poetic theory contained revolutionary elments that bore a striking similarity to Hu Shi's view in“A Preliminary Discussion on Literary Reform”Furthermore,Chen Yan placed special emphasis on the musicality of poetry,aligning with the viewpoints of modernist poets on this particular matter.A comprehensive understanding of the intricate relationship between Chen Yan and the theory of new poetry can only be achieved by considering his later poetics in conjunction with the backdrop of the New Culture Movement.