Nie Gannu 聂绀弩 （1903-86）, essayist and poet, had begun his literary career as an avid advocate of the New Culture and New Literature Movement of the early twentieth century; but later in life, he became well-known...Nie Gannu 聂绀弩 （1903-86）, essayist and poet, had begun his literary career as an avid advocate of the New Culture and New Literature Movement of the early twentieth century; but later in life, he became well-known for his classical-style poetry. This paper examines the paradox of old and new in Nie Gannu＇s writings by juxtaposing classical-style with new-style poetry for a comparative analysis. In contrast to new-style poetry, classical-style poetry with its prosodic requirements and formal conventions has a strong technical aspect. Nie Gannu＇s preference for the regulated verse in the seven-syllable line is a deliberate embrace of this technical aspect of classical-style poetry： On the one hand, the absorption in poetic skills and craftsmanship was therapeutic for him in the traumatic years of the socialist revolution; on the other, the restraint of the form and the use of parallel couplet afforded him linguistic resources unavailable in the new-style poetry, so that he was able to express emotional complexity, ambivalence, and an irony that is, in his own words, ＂both there and not quite there.＂ Nie Gannu＇s case demonstrates the importance of understanding the new and old verse forms in each other＇s context. Rather than considering the mapping of modern Chinese poetry as following a linear line of progression from classical-style to new-style, this paper proposes a spatial model of configuring the relationship of the two major verse forms in modern times, as mutually defining and constricting.展开更多
文摘Nie Gannu 聂绀弩 （1903-86）, essayist and poet, had begun his literary career as an avid advocate of the New Culture and New Literature Movement of the early twentieth century; but later in life, he became well-known for his classical-style poetry. This paper examines the paradox of old and new in Nie Gannu＇s writings by juxtaposing classical-style with new-style poetry for a comparative analysis. In contrast to new-style poetry, classical-style poetry with its prosodic requirements and formal conventions has a strong technical aspect. Nie Gannu＇s preference for the regulated verse in the seven-syllable line is a deliberate embrace of this technical aspect of classical-style poetry： On the one hand, the absorption in poetic skills and craftsmanship was therapeutic for him in the traumatic years of the socialist revolution; on the other, the restraint of the form and the use of parallel couplet afforded him linguistic resources unavailable in the new-style poetry, so that he was able to express emotional complexity, ambivalence, and an irony that is, in his own words, ＂both there and not quite there.＂ Nie Gannu＇s case demonstrates the importance of understanding the new and old verse forms in each other＇s context. Rather than considering the mapping of modern Chinese poetry as following a linear line of progression from classical-style to new-style, this paper proposes a spatial model of configuring the relationship of the two major verse forms in modern times, as mutually defining and constricting.
