闻一多诗论“脚镣说”新论

要求新诗格律的“脚镣说”是闻一多诗学理论的一个卓越表达 ,其核心内容是遵循艺术规律 ,其美学追求在于诗人征服工具的快乐 ,其艺术指归是在限制中完成艺术创造 ,作用于实践则是提高新诗的艺术水准。新诗运动初期 ,许多白话诗人注重的是“白话”而不是诗 ,其基本主张是“有什么话 ,说什么话 ;话怎么说 ,就怎么说” ,结果造成了非诗化倾向 ,直接影响了中国新诗的发展 ,到 192 2年开始陷入中落。正是在这种背景下 ,新月诗派倡导格律运动 ,试图纠正初期创作中忽视艺术自律的弊病 ,最重要的就是倡导新诗的音乐美、绘画美和建筑美。其中 ,闻一多的诗论和创作起着中坚和示范的作用 ,推动着中国新诗向提高艺术的方向努力 ,并使新诗在 30年代很快发展到成熟的地步。闻一多的“脚镣说” ,无论从其所依托的理论依据、艺术原理方面去考察 ,还是从其所体现的美学追求和创作规律去分析 ,都包含着丰富而深刻的内容 ,存在着当时许多人没有意识到的真知灼见。

A New Theory on Wen Yiduo's Poetics "On Shackle"

The poetic theory "On Shackle", which requested metrical versification on new poetry, was an outstanding expression of Wen Yidu's poetics, of which the essence was the coherence with artistic disciplines, the aesthetic pursuit rose up from the joy of commanding instrumentality. The ultimate in its art was the accomplished artistic creation under limitations, functioning on practice was the height of art where new poetry should be bettered. Shortly after the movement of new poetry began, when the norm was"say as one will, the way one chooses to express", many vernacular poets preferred popular language to poetic language, and brought about a non-poetry trend, influencing the way of new poetry until 1922 when it fell into decline. Under this circumstance, the "crescen" poets advocated metrical poetry, seeking remedy for the previous abandon of self-discipline in art, and most notably, they pursued the musical, pictorial and architectural beauty of new poetry. Wherein Wen Yidu's poetics and creations played a lead role, pushing forward Chinese new poetry toward better art, and Wen was responsible for the maturity of new poetry in 193's. Wen's poetics "On Shackle", viewed from all aspects --- theoretic basis, art principia, or aesthetic quest and creation disciplines--- was substantially and profoundly inclusive of what many other contemporaries didn't wake up to.