心为形役:拟古话语下的商籁和十四行诗之名

分析了西诗商籁作为外来诗歌进入中国的深刻动因,以胡适、闻一多、朱湘、冯至和屠岸等人的命名法为例,进而发现20世纪初西诗商籁进入中国的深层原因是"新诗之精神"指引下"人心"对"型式"的呼唤。但商籁最初的命名和接受在中国表现出心为形役的特征:音译命名法走上了以体代诗的歧途;数字命名法因袭了传统诗歌的五七言话语,暗含着重形式而轻内容的危机。在拟古话语作用下两种命名法使商籁作为诗人抒发理想的寄托无处安放,在心与形之间选择一处诗意栖居地构成了商籁自发轫以来在中国面临的一大尴尬。相比之下"商籁"这种命名在意义通道和声音通道上的交集指示着一条更好的出路。

The Prison House of Form: Naming Sonnets under the Archaic Discourse in China

The present essay aims at exploring the motive forces behind the introduction of sonnets into China through the different sonnet naming strategies by men of letters such as Hu Shi,Wen Yiduo,Zhu Xiang,Feng Zhi and Tu An.It is concluded that the introduction of such a foreign poetic form in the first decade of the twentieth century in China is originated from ＂the spirit of new poetry＂ and it is the call of ＂human heart＂to＂form＂.On the one hand,the translated name of Shang Lai and the reception of it have the characteristic of being the prison house of form,which means a transliterated naming has misplaced sonnets at the level of Ti while disregarding its being as poetry.On the other,numerical naming（with a sonnet literally named as a fourteen-lined poem） is deeply rooted in the ancient tradition of a five-worded or seven-worded poetic line,causing the overweight of form in the writing of sonnets.To sum up,the two naming methods in China have put the reception of sonnet in dilemma and a painstaking choice between the poetic form and matter,although sonnets as poetry are supposed to be where poets dwell poetically rather than formally.Comparatively,the naming of ＂Shang Lai＂ as adopted by some few points to a more rational reception for its consideration of both the sound and sense in sonneteering.