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世纪末寻找世纪末,世纪初发现世纪初,而对中国和世界诗坛而言,发端于19世纪末20世纪初的俄罗斯白银时代诗歌也许最有理由受到双重喜爱,它像春天的傍晚,也像冬天的早晨。就我个人来说,白银时代最打动我的一是那些群星璀璨的诗人们在苦难中担当的命运,二是他们的诗歌所具有的恢宏卓越的兼美气质——既是对俄罗斯历史的重新发现,也是对世界文化的深情眷恋;既是唯美主义的启示录,也是现代派精神的宣言书;既是象征的、神奇的、弥撒亚的,也是现实的、大地的、人民的。总之,白银时代的美是一种兼美,或者可称为“总体性”之美,而这样的美学特征,我觉得不仅是中国新诗所缺乏的,也是我们反观西方现代诗歌的一个重要维度。
Finding the end of the century is the end of the century, and the beginning of the century is the beginning of the century. For the world of poetry in China and the rest of the world, Russian silver-time poetry, which originated in the late 19th and early 20th centuries, may be most likely to receive double love. It is like spring evening and winter morning . Personally, for the most part, in the silver age, one of the things that touched me most in the silver age was the fate of those brilliant stars in misery, and the grand and outstanding temperament of their poetry - both a rediscovery of Russian history Is also a deep sentimentate attachment to the world culture. It is both an apocalypse of aestheticism and a declaration of the spirit of the modernist school. It is both a symbolic, a miraculous, an Isaiah, a reality, a land, and a people. In short, beauty in the silver age is a kind of beauty, or it can be called the beauty of “generality ”. However, such aesthetic features are not only lacking in the new Chinese poetry but also an important dimension in our review of modern Western poetry .