1930年代海峡两岸现代诗的颓废美学——以中国内地现代派、中国台湾风车诗社为中心

The Decadent Aesthetics of the Modern Poetry on Either Side of the Taiwan Strait in the 1930s,with the Modernist Group on the Mainland and Le Moulin Poetic Society in Taiwan as the Centre

20世纪30年代海峡两岸现代诗中的“颓废”是转折时代、复杂社会、个人心性、美学偏好与外来文学思潮复合影响下的产物,它由颓废主义三要素——“身体”“女性”“死亡”及其衍生物搭建起基本框架,“声”“光”“色”的复杂调和、异质并置与矛盾修辞等手段辅以点缀。“文化错位”使两岸现代主义诗人尚未意识到“进步即颓废,颓废即进步”,“双重人格”又使其陷入“为人生”还是“为艺术”的纠结之中。30年代后期,时代变化引发文学生态的变化,大部分现代派诗人将“颓废”一扫而空,转身踏上“十字街头”,风车诗社诗人则纷纷选择封笔。战后在“跨越海峡的诗人”与“跨越语言的诗人”的共同努力下,两岸现代诗各自的传统与精神得以在台湾地区现代主义文学运动中交会,这一“美学越境”现象值得用更大的视域加以观照。

In the 1930s,decadence in the modern poetry on either side of the Taiwan Strait is a product of combined influence of external literary trends as well as the changing times,complex society,individual character and aesthetic preference,its basic frame constructed of three elements,body,femininity and death,as well as their derivatives,and decorated with the complex amalgamation of sound,light and colour,as well as as the juxtaposition of such methods as heterogenous qualities and oxymoron.While,as a result of cultural dislocation,the modernist poets on either side of the Strait were not even aware of the fact that progress means decadence and decadence means progress,dual personality plunged them into the entanglement in which they wondered if art's for the sake of living or for art's sake.In the late 1930s,when the changing times caused the literary ecology to change,most modernist poets got rid of decadence by turning to the streets,and the poets from Le Moulin Poetic Society chose to stop writing altogether.After the war,with the combined efforts of the poets who went across the Strait and those who went across the language,the tradition and spirit of modern poems on either side of the Strait were able to meet in the modernist literary movement of Taiwan Region,which aesthetic border-crossing needs to be viewed in a larger field of vision.