论文部分内容阅读
在讨论现代主义诗歌意象艺术的时候,我们面对着两个背景。首先,现代主义诗歌非常重视意象的营造。李金发曾经谈到:“诗之需要image(形象、象征)犹如人身之需要血液”。①穆木天强调“诗的音乐与造形之美”对“内生命的反射”,但它不是“说明的”,而是“暗示的”。②孙作云指出:“现代派诗的特点便是诗人们欲抛弃诗的文字之美,或忽视文字之美,而求诗的意象之美”。③孙玉石先生说,“现代派诗歌一个最大的特点是朦胧性、意象性和多义性”。④而朦胧性和多义性,都是意象性之果。诚如朱自清先生指出的,现代派诗的意象营造,是“远取譬”,“仿佛大大小小红红绿绿一串珠子,他却藏起那串儿,你得自己穿着瞧”。⑤言其意象营造的迷离与晦涩。另一方面,在一个三维架构的诗歌本文模式中,意象居于中心位置,它架起了言意的桥梁,划开了诗与非诗的界限。这要从语言与意象的关系谈起。诗歌的语言是意象的构成,不是抽象概念的符号集合。在一定意义上理解,诗歌语言就是意象语言,语言和意象是重合的。但必须加以辨识的是,没有进
When discussing the art of modernist poetry, we face two backgrounds. First of all, modern poetry attaches great importance to the creation of images. Li Jinfa once said: “The need for poetry image (image, symbol) as if the body needs blood.” ① Mu Mutian emphasized “the reflection of inner life” of “the beauty of music and formations of poetry”, but it is not “explanation” but “implied.” ② Sun Zuoyun pointed out: “The characteristic of modernist poetry is that the poets want to abandon the beauty of writing poetry or ignore the beauty of writing and seek the beauty of the image of poetry.” ③ Mr. Sun Yushi said: “One of the greatest characteristics of modernist poetry is dimness, imagination and polysemy.” ④ hazy and ambiguous, are the fruit of imagination. As Mr. Zhu Ziqing pointed out, the imagery of modernist poetry is “far-fetched” and “seems like a bunch of beaded beads of red and green, but he hides the strings and you have to look at himself.” ⑤ words of its image to create the blurred and obscure. On the other hand, in the mode of a three-dimensional structure of poetry, the image occupies a central position. It sets up a bridge of words and delimits the boundary between poetry and non-poetry. This is from the relationship between language and image. The language of poetry is the composition of images, not the collection of symbols of abstract concepts. In a certain sense, poetry is the image language, language and image are coincidental. But it must be recognized that there is no progress