腔调与滥调——“新文艺腔”的韵律研究

Tones and Cliches--Study on the Rhythm of‘New Literary Style’

20世纪初年,新文化同人以“白话文学”相号召,形成了现代汉语文学创作的语言基础。其时,以“冰心体”为代表的“欧化语体”因思想的优胜与形式的新颖,成为现代文学的先锋文本,在青年学生群体中广为传播,其融会口语及欧化语过程中形成的韵律不匀,被谓之为新文艺的“滥调”,是为“新文艺腔”的先声。以文言、口语、欧化语多语体杂糅而成的“新文艺腔”,通过不断的韵律试验与调适,进而融入现代白话文学创作中。从现代文学及现代汉语书面语日渐成熟的角度视之,“欧化语体”作为“历史中间物”,奠定了现代文学及现代汉语的书面语基础,成为建构现代汉语书面语的重要一翼。

The‘vernacular literature’called on among New Culture Movement initiators and drivers in the early years of the 20th century has ushered in literary creation by way of modern Chinese.The‘Bing Xin Style’,featuring Europeanized manoeuvre of language,became the avant-garde text of modern literature due to its unusual thoughts and novel form,and was widely spread among young students.Irregular rhythms in Bing Xin’s style ensuing from integrated spoken language and Europeanized language were called a cliche of the new literature and art,a vanguard of‘new literary style’.The‘new literary style’,a mixture of classical Chinese,spoken English and Europeanized language,has been integrated into the modern vernacular literary creation through a continuous test and adaptation in rhythm.From the perspective whereby modern literature and modern Chinese written language are ever-ripening,with Europeanized language as its‘historical intermediate’,the‘new literary style’has provided a solid foundation for modern literature and modern Chinese written language,and grown into a major wing of modern Chinese written language construction.