新诗的“内在韵律”如何成为可能

How is the"Inner Rhythm"of New Poetry Possible

“内在韵律”这个概念一直在新诗理论建构中占主导地位。这一概念在提出之初被框定在了内在情绪方面,而割裂了它与外在形式的有机联系。该文借用理论家哈特曼与帕斯关于节奏及韵律的界定,来对“内在韵律”这一概念进行重新思考,并从古典诗歌传统的时空音乐性的节奏观中汲取灵感。中国古典诗歌中对时空音乐性的强调与“内在韵律”的概念十分契合,以时间的变化引领空间的变化,旨在建构“一个音乐情趣的宇宙(时空合一体)”,这种联系让“内在韵律”不再是一种玄谈而有了具体表征。最后,内在韵律在诗歌中的实践可以说是“外动而生中”,新诗如何将外在形式与内在节律圆融,即如何实现音乐性至关重要。

The concept of"inner rhythm"has always played a leading role in the theoretical construction of new poetry.At the beginning,the concept was framed in terms of internal emotions,and its organic connection with external forms was cut off.This paper rethinks the concept of"inner rhythm"by using the definitions of rhythm and rhythm by theoreticians Hartmann and Paz,and draws inspiration from the traditional rhythm view of time and space musicality in classical poetry.The emphasis on the musicality of time and space in Chinese classical poetry is very consistent with the"inner rhythm"proposed in this paper,and the change of time leads the change of space.The aim is to construct"a universe of musical interest(the unity of time and space)",and this connection makes"inner rhythm"no longer a metaphysical talk but a concrete representation.Finally,the practice of inner rhythm in poetry can be said to be"born in the outside movement".How to integrate the external form and inner rhythm in new poetry,that is,how to realize the musicality is very important.