从“刚健激越”到“哀而动人”——论1920年代安源工人歌谣风格的流变

From"Vigorous and High-Spirited"to"Sad but Moving"——On the Change of Style of Anyuan Workers'Ballads in 1920s

在中国革命历程中,歌谣一直肩负着重要的动员使命。作为中共革命开端阶段的1920年代的安源工人歌谣,其情感基调经历了显著变化——由“刚健激越”转向“哀而动人”。这种风格流变关联了几个重要面向:首先是安源工人运动领导者各异的个性气质以及革命思潮的变迁;其次是“哀而动人”动员策略下的诉苦主体由中共革命知识分子转向工人群体;最后是激越豪迈的自由体诗歌形式和激进的现代革命修辞转向对“孟姜女变调”传统歌谣形式和“牛马”等受难意象的征用。安源工人运动中形成的“哀而动人”政治美学成为井冈山时期、苏维埃时期、延安时期中国革命情感动员的重要资源。

In the course of Chinese revolution,ballads have been shouldering an important mobilization mission.As a prelude to the ballads of the Soviet area,the emotional tone of the ballads of Anyuan workers underwent several changes in the 1920s—from"vigorous and high-spirited"to"sad but moving".This stylistic evolution is associated with several important aspects:the first one is the different personalities of the leaders of Anyuan workers'movement and the change of revolutionary trend of thought;the second one is the turn of complaint subject from revolutionary intellectuals of the CPC to workers under the"sad but moving"mobilization strategy;the last one is the requisition of the heroic free verse form and the turn of high-spirited modern rhetoric on the traditional ballad form of"Meng Jiangni modified tone"and the images of undergoing sufferings such as cattle and horses."sad but moving"political aesthetics formed in Anyuan Workers'Movement has become an important resource for emotional mobilization in the Chinese revolution,including the Jinggangshan period,the Soviet period and the Yan'an period.