自董俊论文论戴望舒诗歌对中国古典传统的传承.docx
《自董俊论文论戴望舒诗歌对中国古典传统的传承.docx》由会员分享，可在线阅读，更多相关《自董俊论文论戴望舒诗歌对中国古典传统的传承.docx（49页珍藏版）》请在冰豆网上搜索。
自董俊论文论戴望舒诗歌对中国古典传统的传承
摘要································································3
ABSＴRAＣT·························································4
绪论································································5
第一章戴望舒诗歌创作的背景和追求····································8
第一节戴望舒诗歌创作的背景······································8
第二节 戴望舒诗歌创作追求的“三步曲”······························１３
第二章戴望舒诗歌对古典诗歌的继承··································１8
第一节对古诗词的化用············································18
第二节 传统意象的沿袭············································2１
一、女性意象··················································２2
二、悲秋意象··················································23
三、青色意象··················································25
第三节古典朦胧的意境············································26
第四节忧郁的诗情················································２9
第三章戴望舒诗歌对传统的超越······································3３
第一节古典意象的现代性表现·····································33
一、从感性色彩到理性体验······································34
二、从家园到荒原··············································36
三、审丑的意象················································３７
第二节诗的散文化倾向···········································38
第三节半隐半现的抒情方式·······································42
第四节 从情到知,从自我到民众的创作观念的转变·····················45
结束语···························································４9
参考文献·························································５1
Directorｙ
Chｉnesｅ abstrct········································································································3
Ｅnglｉsh aｂsｔrct·········································································································4
Iｎtｒoｄuction·················································································································5
ChapｔerＩDaiWａngshu'ｓpｏeｔｒyｃreａtionbaｃｋgrｏuｎdａｎdthe puｒｓuｉｔ····················8
SectioｎITheDaiWaｎgshupoetｒy ｃｒeaｔｉonbackground···································8
SｅｃtionIIDai Wａnｇshu pｏetｒyｐursuｉtｏf the ＂ｔhreeｓtｅｐｓ"······························１3
Cｈａpｔer IIDaiWanｇsｈu'spｏｅｔrｙtoｉnheritclａssiｃalpｏetry···································１8
SectｉoｎI DaiWangshu's ｐｏeｔｒyoｎ clａｓｓicalｐoetｒywｉth··································18
SecｔｉｏnIIFolｌowthetradiｔｉoｎａl ｉmａge·······························································2１
One,ｆemａleimaｇe························································································22
Ｔｗo，thｅaｕtumｎｉmaｇe·················································································2３
Threｅ,greenimaｇery·····················································································25
SectioｎIIＩClaｓsicalgloｏm.····················································································26
ＳectiｏnIＶ ThemelａncholyＰｏetrｙ·········································································29
CｈaｐteｒIII DaiWangshu'spoｅtry tosuｒpasｓtraｄｉtioｎ················································３3
SectｉoｎI Modernity ofclａssｉcalｉmagｅs······························································3３
Oｎe，fｒｏｍｐercepｔuaｌｔorationalexpｅrｉｅncecolｏr·······································3４
Two,ｆromthe ｈｏme ｔothewaｓteland···························································３6
Three,aesthｅtic imagｅｒy················································································37
Seｃtion IIProsetｅnｄeｎcyofpｏetry·····································································３８
SecｔionIＩIHaｌｆhｉdｄeｎＬyrｉcｗay········································································42
ＳectioｎIV Fromtｈeｅmｏtionaltokｎow,chanｇefromselftothepubｌicthe conｃｅpｔof creatｉon··································································································45
Conｃlusion··················································································································49
Ｒｅferencｅ····················································································································51
Aｃknowledｇements····································································································５3
摘 要
在二十世纪3０年代的中国诗坛，戴望舒的诗歌无疑是一朵耀眼的奇葩。
他用自由而精致的形式，朴素而精炼的手法抒写自己的真情实感，用浓郁的诗情开辟通往读者心灵的诗的道路。
而这一成就的取得,归根结蒂于他对中国传统诗歌的接受，但这种接受不是被动的，单项的，而是既有传承也有超越。
本文从这一诗歌现实出发,深入探寻戴望舒诗歌创作对古典诗歌的传承和超越的关系。
现代新诗发展到三十年代,由于白话诗日益成熟和格律诗形式的规范,使新诗在语言和体制上已经渐趋成熟。
客观上为戴望舒创造新的诗歌品种,提供了契机。
主观上,戴望舒是一个孜孜不懈追求的诗人，旅历西方,在多种思潮的熏陶和浸润下，体悟到了西方诗艺的精华,这使他具备了良好的欧洲文学素养，加上他自身具有深厚的民族文化底蕴，因此诗人在中西方诗歌的借鉴和融合的过程中,找到了二者的结合点，创建了一种中国特色的现代诗歌，用无韵自由体诗歌抒写现代人的情感和生活。
戴望舒从传统诗歌中汲取了丰富的艺术精华。
他始终走着一条以诗歌的音乐性为中心,内在律和外在律渐趋交融的螺旋式上升的道路。
传统诗歌中的感伤意象在他的笔下也充分展示，但已被他赋予了现代的诗情。
他运用古典诗歌悠远的意境和含蓄的抒情手段,表现自己感伤而寂寞的情怀。
不仅如此，戴望舒以吸收古典的诗歌精华为基础，融汇西方现代派诗歌的多种手法,放弃了音律,开始追求诗歌创作的散文化倾向。
同时，散文化的手法使用,放宽了诗歌的内在节奏,使诗歌的情感得到更深刻的拓展,用感情的流动支撑起诗歌的框架。
他沿用古典诗歌融情于景的写法，把诗歌情感隐藏在意象和物境中，通过意象泄露出自己的情思。
在诗歌的抒情方式上,追求诗歌的内在韵律,不再像前期那样低吟浅唱着自己的悲哀,找到了一种隐显适中的方式来表达自己的情感,也由当初的“主情”走向了“主知”的路线，完成了对传统的超越。
关键词 戴望舒诗歌古典诗歌 继承 超越
Abｓtrａｃt
Ｃhiｎｅｓepoetrｙ ｉntｗeｎtiｅthCeｎtｕry 30'ｓ,DaiＷanｇsｈｕ'ｓpｏetry ｉsawｏｎdｅｒfuｌflower.Hｅｕsedtｈefreedomａndeｘquisitｅfｏrm,siｍｐｌeandrｅfiｎed theirtecｈnｉｑueｓexpｒessone's reaｌfeｅlｉｎgs,wｉthrichpｏetryｏpeｎstothｅ rｅaｄersｏf ｐoetry road.Aｎdtｈｅｔakingofthisｏneａcｈievｅmｅnt,gettotheｒootｏfｔhepｒoblemin ｈｉs aｃceptance oｆCｈinｅsetrａdiｔｉoｎalpoeｔｒy， butthisacceptａnceiｓnotpasｓive,siｎｇｌe,butboｔｈ inherited ａnｄtｒansｃｅｎdeｄ.Thisａｒtｉcｌefromtｈispoetｉcｒeality，deｅply exploｒiｎgｔhｅrｅｌationsｈｉpbetweenＤaiＷａngshu＇s ｐoeｔryｃreationofclａｓsical pｏｅtrｙinheritaｎｃeandtｒansceｎdｅnｃｅ．
Ｍｏｄernpoｅｔｒydｅvelｏpmｅｎｔtothｅｔｈｉｒty's,ｂｅcauseoｆthｅvernacuｌarpoetｒｙincreasinglyｍａｔureａndmｅtricａlverseformoｆnorms,tｈenewpｏetｒyhasgｒａｄuallｙmatured iｎ lanｇuaｇe ａnｄsｙstem．Theoｂjｅctiveforthe crｅａtｉｏnoｆnewpoetｒyof DaiWaｎgshuｖａｒieties，andpｒovideｓａnoｐporｔunity．Subｊeｃｔively，Dai Wａngshuiｓ ａdiligentpｕrｓｕｉtｏｆ thepｏet，traｖｅｌｓ Weｓt， ｉna vａｒiｅtyofideoｌogicaltrｅndthｅ inｆluenceａnｄｉnfiｌtration, ｔoｒeａlizetheesｓeｎcｅofWｅstｅrnpoｅｔry， whｉｃhｅnaｂｌedhiｍｔｏhavｅagoodEuｒopean lｉteraryaｔtａinmenｔs,ｐlusheｈａｓdeepnationalculture, therｅｆorethｅpｏetinＣhiｎｅse anｄWestｅrnpoｅtrｙanｄreｆeｒｅncｅ theprocessｏｆ ｆｕsioｎ,to finｄｔhecomｂinaｔｉonof thｅtwo，mｏdeｒn poｅtry ｔｏcreatea Chineｓechaｒactｅristｉcｓ,wｉthno rhｙmeboｄyｐoｅtｒyinｍｏdeｒn ｐｅoｐle＇semotｉonand lifｅ.
ＤａiＷａngshｕdrewａｒichａrｔistｉcessenｃｅfrｏｍtraditionalpoetry.Healwａysｗalkeｄ toａｍusicalｐｏetryastｈeceｎtｅr,thｅiｎｔerｎａllawanｄ ｔhｅexteｒnal lawgｒaｄuallｙ spｉｒａlofｒisingｒｏad.Sentｉmental ｉｍaｇｅｉｎtrａditｉonａlｐｏeｔryaｌｓodispｌayin hisworｋｓ，buthasbeengivｉｎｇtｈemodern pｏetｒy.Ｈeusｅd theｃｌaｓsicaｌpoｅｔrydｉｓｔaｎｔｍoｏｄandimplｉｃiｔLyric ｗaｙ,ｔｈeirsaｄandlｏnelyfeelinｇｓ．
Not onｌyｔｈat， ｔｏaｂsorb thｅ essenceof poetryDaiWａngｓｈuｃｌassicalｂaｓed appｒoａｃhes, ｉntｅｇrationｏfthe weｓteｒnmoｄｅrnｉsticpoetry, ｇaｖe upmusic, ｂegantopursuｅ poetryproｓｅtendｅnｃy． Atｔhesaｍeｔimｅ，scatterｅdculturaｌｐrａｃtｉceｓ， ｔo reｌaxtheinｔernalrhｙthmｏfpoｅtｒy,ｔhepoetryｅmｏtｉonｄeｖeｌoｐｍorｅproｆoｕｎd，wiｔhthｅ fｅeｌｉngsoftheｆｌｏw ｔosｕｐporｔｔｈe ｐｏemｓfrａｍework． Heusｅdclａｓsicalｐoetｒyfinanciａlsituaｔioｎin thｅ baｃkgroｕndofwritiｎｇ,ｔｈe pｏeｔry feｅlinｇshiddenin tｈeimageanｄ theｉmａgｅ， tｈroｕgｈimａｇesrｅｖealtｈeiremｏtｉｏnｓ．Inｔｈe poｅｔiclｙrｉcｉsm，intriｎsｉcrhｙｔhｍtｈe ｐuｒsuit ｏf poetry, nolｏngｅras eaｒly ascｒoonhersorｒoｗ, to ｆindａhiddeｎmoderateway toexpresｓ ｔheiｒfｅelｉngs, froｍ tｈeｏrｉgｉnaｌ "mainfeｅlｉnｇ"totｈe "ｍastｅr＂ｒoｕte,whｉｃhtransｃeｎｄｅdｔhetraｄｉtｉonal．
KｅywｏrdｓDａi Wangshu'sclassicalpoｅtrｙｃarriｅdbｅｙｏnd
绪 论
ﻩ一、问题的提出
戴望舒是一个让人永远难忘的“雨巷”诗人。
作为中国现代诗派的领军人物，在他短暂的一生中，作诗主要集中在二十世纪的二十至四十年代，留下了的诗歌不足百首,却在中国现代诗歌史上占据了一席之地,发出耀眼的光芒。
余光中对戴望舒的评价是这样的:
“他上承中国古典余泽,旁采法国象征诗的残芬,不但领航当时象征派的作者，抑且遥启现代的诗风，确乎是一位引人注目的诗人。
”龙泉明也在《中国新诗流变论》中认为,戴望舒完成了新诗的第二次整合，“代表了一个时代潮流的转折趋势和下一个阶段诗歌发展的必然走向”。
获得了如此高的评价,究其原因,就在于诗人戴望舒多方面探索诗的创作道路，不仅为自己“在众多歧途中找到了一条浩浩荡荡的大路”,而且为自己制出了适合在这条路上行走的“鞋子”—散文化的无韵自由体诗歌,在现代诗歌史上做出了承前启后的贡献。
剖析诗人的诗作，我们可以发现从《旧锦囊》到《雨巷》，再由《我底记忆》到《灾难的岁月》，其创作不是一开始就定位在散文化的自由体诗歌。
他审美意识的位移有这样一个过程，那就是由象征性到意象化,由格律美到散文化。
审美意识的一系列变化,导致其艺术追求的变异。
本文立足于戴望舒对传统诗歌继承的基点，试图挖掘出在特定的背景下，戴望舒诗歌的异变所呈现的特征,进而分析西方文化因子对其创作的影响。
二、近年来对戴望舒诗歌的研究
近年来研究者对戴望舒创作的分析主要立足于以下几个方面:
其诗歌受古典诗歌传统的影响。
最早的是卞之琳在《戴望舒诗集·序》中，说：
“望舒最初写诗，多少可以说,是对徐志摩、闻一多等诗风的一种反响。
他的这种诗,侧重于把西方诗风的吸取倒过来为侧重中国就诗风的继承。
”卞之琳强调了他对古典诗歌传统的继承。
黄灯在《戴望舒与李商隐的情诗比较》一文中，力图揭示戴望舒诗歌的传统渊源。
认为悲苦的末世情怀是其继承李商隐的内在因素。
李怡在《中国现代诗歌与古典诗歌传统》（修订本）中,对他的诗歌创作进行了阐述,宛如唐代李商隐、温庭筠那样深沉的诗风进行了详细地考究。
其诗歌受西方诗歌传统的影响。
较早的有阙国虬在他的《试论戴望舒诗歌的外来影响与独创性》一文中，充分揭示了戴望舒所受法国象征派、浪漫派、苏俄文学的影响，以及经个人的消解后在创作中体现的独创性。
七十年代后,孙玉石在《中国初期象征派诗歌研究》中,对他的诗歌意象、情思,特别是创作手法的运用,进行了详细的阐述，着重论述他对西方象征诗派手法的借鉴。
罗振亚在《中国现代主义诗歌流派》,对其诗绪进行了比较深入的论述，阐明了戴望舒在运用西方象征手法的同时很好地接受了传统诗歌的精华，开启了一代诗风。
王文彬在《中西诗学交汇中的戴望舒》中,从诗学的角度，对戴望舒的诗歌理论层面进行论述，认为其诗歌对西方象征手法的垂青。
其诗歌受中西文化的双重影响。
如龙全明在《中国新诗第二次整合的界碑—戴望舒诗歌创作综论》一文中,对其诗歌的纵向继承和横向借鉴与融合进行分析,认为他为新诗的民族化建设提供了宝贵的经验,是继郭沫若之后对中国现代新诗的第二次整合。
李怡在《论戴望舒与中西诗歌文化》中探讨了戴望舒诗歌与中西文化的关系。
他书写痛苦的人生,在情调上体现出了法国象征主义诗歌的相似性，这种痛苦以感伤的形式表现出来,是对晚唐诗歌特别是李商隐诗歌的继承,他的创作对中西方诗歌传统的借鉴与融合。
还有的研究是对戴望舒诗歌独创性的分析。
认为戴望舒的创作从中国古典诗词和西方诗歌传统中汲取营养,形成了独具特色的风格特征。
三、本文创新及主要内容
本文的创新点在于，以戴望舒“为自己制最合脚的鞋子”:
无韵自由体诗歌为线索，串联起诗人在不同时期诗歌创作的发展与演变。
试图通过诗人及其诗作的深度分析,并结合创作背景和诗论,对诗人对于传统的继承和超越作系统的阐述，以此梳理出东方诗人对西方文化的汲取和化解。
通过以下三个方面来论证:
1、背景及追求。
新诗的出现不是旧体诗的孕育,与传统的裂变，造成了种种不足。
三四十年代新诗的大众化与民族化形式的讨论,直接催生了新民歌的繁荣，但歌不是诗,只是“含着强烈而充实的感情的标语口号的诗的形式”。
正是在这样的背景下,戴望舒借鉴前期白话诗歌的种种不足,为自己制最合脚的鞋子,创作了无韵自由体诗歌，丰富并发展诗歌的创作体式。
戴望舒创作上的追求,可以说走的是一条以诗歌的音乐性为中心，外在律与内在律的渐趋交融的尺度为半径的“循环”样式的螺旋状上升道路。
对音乐性的追求,是他创作的一大特色。
2、对传统的继承。
通过对戴望舒古诗词的化用，以及对诗歌意象、意境的阐释。
探讨戴望舒如何运用古典诗歌的题材，展示现代人的孤独、忧郁的情感。
用现代中国现实所产生的情感、情绪和思想重铸传统诗歌的意境,从而使传统诗歌在现代的诗情下重新焕发出光彩。
3、对传统的超越。
戴望舒对待传统不是一味的继承，更能体现其诗歌价值的是他对传统的超越。
早期借鉴西方象征派的创作手法，英国唯美派诗人道生，以及后来西班牙诗人洛尔迦和抗战时期的民间诗人,比利时俄国诗人等都是他师法的对象。
融入到创作中来,首先表现在散文化的写作向度，是诗人后期的主要艺术特征。
让诗歌的情感附着在缓慢的音乐节拍中,绵延出诗歌隐显适中的抒情方式，情与理的转换更是对古典诗歌的超越。
第一章戴望舒诗歌创作的背景和追求
在中国诗歌的现代化进程中，不得不提到戴望舒，这是因
升级会员 