论文部分内容阅读
中国是个诗歌的国度,既有诗歌的传统,也有诗歌的热情。从商周时期的《诗经》经典,到明清时期的更为庞杂,中国的诗歌创作一直长盛不衰。但自20世纪初出现了一条明显的分水岭:欲摆脱“旧体诗”的桎梏而“自由”宣泄,却不得“自由”之门而更多迷茫。至本世纪尤为甚,有句形容颇形象:写诗的比看诗的多——盖因不写诗的基本就不看诗啦,而写诗的大多也不看别人的诗的。但也有例外。譬如去年年底至今年年初,借着党的十八
China is a country of poetry. It has both the tradition of poetry and the passion of poetry. From the Classic of the Book of Songs in the Shang and Zhou dynasties to the more complicated in the Ming and Qing Dynasties, the Chinese poetry has always enjoyed a long and prosperous life. However, an obvious watershed has emerged since the early 20th century: It is more confused to get rid of the “shyness” of “old-style poems ” and “freedom ” without venting to the door of “freedom ”. To this century is even more, there is a description of the image: writing poetry more than poetry - because the basic reason why not write poetry is not reading poetry, and most of the poetry is not to read other people’s poetry. But there are exceptions. For example, from the end of last year to the beginning of this year, by the party’s eighteen