兰斯顿·休斯诗歌思想特征和艺术创新
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摘要
兰斯顿·休斯是美国黑人文艺复兴运动中涌现出的最杰出的黑人诗人，也是美国二十世纪最重要的作家之一，整个文学生涯贯穿始终地表现出来的社会思想和独辟蹊径的艺术创新铸就休斯诗歌成就的两个重要因素。
民族性是休斯思想的灵魂。休斯毕生以诗歌坚定地表现着他对黑人民族的关注和思考。首先他大胆地展示黑人民族的真实存在：他们有着不可否认的种族身份，有着值得颂扬的美，也有着不容回避的弱点。他对黑人民族弱点的暴露是一个超越黑人传统的壮举。其次，休斯也不遗余力地揭示着黑人民族的社会处境和对美好未来的理想。他认为改善种族处境的途径主要有三，即暴力斗争、自我塑造和道德调和，他对后两者的强调充分体现了他对人性的信念和思想的宽容。
休斯最可贵的是超越了种族视角的局限，赋予其思想以美国性和世界性特征。一方面，他认为美国应该是一个多元化的社会，黑人的独特性即是美国丰富性的表现。另一方面，他又从世界视角来审视黑人与美国和世界的关系，并努力从黑人民族的经历和情感中探寻具有人类普遍性的意义。其诗歌表现出的多元文化特征是休斯超出其他黑人作家的重要因素。
休斯诗歌艺术创新是表现其社会思想的重要手段，也是其重要成就之一。其诗歌艺术创新主要表现于艺术视角和艺术手段两个方面。他的诗首先突破黑人文学的禁忌，努力表现普通黑人民众，揭示黑人的真实存在，并通过对白人种族主义信条和主流文化宗教素材的逆向发掘，发出一个不同于主流文化的声音。在诗的技巧方面，休斯大肆挖掘黑人文化传统，将黑人方言和黑人音乐意象引入诗歌，并利用黑人音乐的内在形式和外在形式创造新的表现手段；另一方面，休斯借鉴现代派诗歌手段，将其与黑人文化嫁接，形成一种反主流的诗歌样式。
休斯通过思想上的超越和艺术上的创新形成一个新的文学传统，对美国文学和文化发展具有重要意义和深远的影响。首先，这一传统在思想内容和艺术形式上成为美国黑人诗歌的里程碑；其次，这一传统标志着黑人美学思想的飞跃；同时，它从思想上尤其是艺术形式上对美国黑人诗歌产生了持久的直接影响，极大地丰富了美国文学，推动了黑人文学对白人文学霸权的消解。
Langston Hughes (1902-1967) is generally regarded as the most outstanding black poet among those springing up during the Black Renaissance, and one of the greatest writers in the 20th-century America. His great literary achievements result mainly from the two important factors, his social ideas penetrating his life-long literary career and his original innovations in poetic art.
The soul of LH's social ideas lies in nationality, which is conveyed in his poetry constantly and firmly. First, he exposes in a bold way the real existence of American black people, including their undeniable racial identity, praise-worthy beauty and unescapable defects. His exposure of the last is a breakthrough of the then black tradition. In the second place, he spares no pains to demonstrate his people's sad social status and their dream of a better future. In his mind, the approaches to a better situation mainly includes violent struggle, self-remolding and moral reconciliation. The emphasis he places on the latter two factors demonstrates his unshakeable conviction in humanity and his tolerant mind.
What is more valuable, however, is his transcendence from the limitation of a purely racial viewpoint and thus his ideas are of the natures of being American and being universal. On one hand, he believes that America should be a nation of pluralism, and that blackness an aspect of its diversity. On the other hand, he explores the relationship between his race and America and even the world, trying to seek the universal meanings through the experiences and feelings of his people. All the features of pluralism contribute to his transcendence of other black writers.
The artistic innovations LH made in his poetry is an important device of conveying his social ideas and also one of his greatest literary achievements. Such innovations consist mainly of his poetic perspectives and techniques. In the first place, he, by breaking the taboo of the then black literature, has as the theme of his poems the real existence of black people, especially those common ones, in attempt
to make a sound distinct from American cultural mainstream by taking advantage of and refuting the WASP racialist creeds and white religious materials. Secondly, LH draws on typical black cultural traditions such as black vernacular and black music as well as some modernist devices for new poetic techniques, which results in an anti-mainstream poetic genre.
LH's ideological transcendence and artistic innovations lead to a new literary tradition with great significance and lasting influences on American literature and culture. First, this tradition set a milestone for American black literature in both the themes and artistic devices. Secondly, it marks a leap of American black aesthetic ideas. What is more important, LH has placed a profound and direct effects on black poetry, which has greatly enriched American literature and promoted the crippling of the hegemony of American white literature.
民族性是休斯思想的灵魂。休斯毕生以诗歌坚定地表现着他对黑人民族的关注和思考。首先他大胆地展示黑人民族的真实存在：他们有着不可否认的种族身份，有着值得颂扬的美，也有着不容回避的弱点。他对黑人民族弱点的暴露是一个超越黑人传统的壮举。其次，休斯也不遗余力地揭示着黑人民族的社会处境和对美好未来的理想。他认为改善种族处境的途径主要有三，即暴力斗争、自我塑造和道德调和，他对后两者的强调充分体现了他对人性的信念和思想的宽容。
休斯最可贵的是超越了种族视角的局限，赋予其思想以美国性和世界性特征。一方面，他认为美国应该是一个多元化的社会，黑人的独特性即是美国丰富性的表现。另一方面，他又从世界视角来审视黑人与美国和世界的关系，并努力从黑人民族的经历和情感中探寻具有人类普遍性的意义。其诗歌表现出的多元文化特征是休斯超出其他黑人作家的重要因素。
休斯诗歌艺术创新是表现其社会思想的重要手段，也是其重要成就之一。其诗歌艺术创新主要表现于艺术视角和艺术手段两个方面。他的诗首先突破黑人文学的禁忌，努力表现普通黑人民众，揭示黑人的真实存在，并通过对白人种族主义信条和主流文化宗教素材的逆向发掘，发出一个不同于主流文化的声音。在诗的技巧方面，休斯大肆挖掘黑人文化传统，将黑人方言和黑人音乐意象引入诗歌，并利用黑人音乐的内在形式和外在形式创造新的表现手段；另一方面，休斯借鉴现代派诗歌手段，将其与黑人文化嫁接，形成一种反主流的诗歌样式。
休斯通过思想上的超越和艺术上的创新形成一个新的文学传统，对美国文学和文化发展具有重要意义和深远的影响。首先，这一传统在思想内容和艺术形式上成为美国黑人诗歌的里程碑；其次，这一传统标志着黑人美学思想的飞跃；同时，它从思想上尤其是艺术形式上对美国黑人诗歌产生了持久的直接影响，极大地丰富了美国文学，推动了黑人文学对白人文学霸权的消解。
Langston Hughes (1902-1967) is generally regarded as the most outstanding black poet among those springing up during the Black Renaissance, and one of the greatest writers in the 20th-century America. His great literary achievements result mainly from the two important factors, his social ideas penetrating his life-long literary career and his original innovations in poetic art.
The soul of LH's social ideas lies in nationality, which is conveyed in his poetry constantly and firmly. First, he exposes in a bold way the real existence of American black people, including their undeniable racial identity, praise-worthy beauty and unescapable defects. His exposure of the last is a breakthrough of the then black tradition. In the second place, he spares no pains to demonstrate his people's sad social status and their dream of a better future. In his mind, the approaches to a better situation mainly includes violent struggle, self-remolding and moral reconciliation. The emphasis he places on the latter two factors demonstrates his unshakeable conviction in humanity and his tolerant mind.
What is more valuable, however, is his transcendence from the limitation of a purely racial viewpoint and thus his ideas are of the natures of being American and being universal. On one hand, he believes that America should be a nation of pluralism, and that blackness an aspect of its diversity. On the other hand, he explores the relationship between his race and America and even the world, trying to seek the universal meanings through the experiences and feelings of his people. All the features of pluralism contribute to his transcendence of other black writers.
The artistic innovations LH made in his poetry is an important device of conveying his social ideas and also one of his greatest literary achievements. Such innovations consist mainly of his poetic perspectives and techniques. In the first place, he, by breaking the taboo of the then black literature, has as the theme of his poems the real existence of black people, especially those common ones, in attempt
to make a sound distinct from American cultural mainstream by taking advantage of and refuting the WASP racialist creeds and white religious materials. Secondly, LH draws on typical black cultural traditions such as black vernacular and black music as well as some modernist devices for new poetic techniques, which results in an anti-mainstream poetic genre.
LH's ideological transcendence and artistic innovations lead to a new literary tradition with great significance and lasting influences on American literature and culture. First, this tradition set a milestone for American black literature in both the themes and artistic devices. Secondly, it marks a leap of American black aesthetic ideas. What is more important, LH has placed a profound and direct effects on black poetry, which has greatly enriched American literature and promoted the crippling of the hegemony of American white literature.
引文
1. Barksdale, Richard, LH: The Poet and His Critics, USA: American Library Association, 1977.
2. Cooke, Michael, Afro-American Literature in the Twentieth Century: The Achievement of Intimacy, USA, 1984.
3. Hamilton, I., ed. Oxford Companion to 20th-Century Poetry, Shanghai Foreign Language Education Press, 2000.
4. Haskins, James, Always Movin'On: The Life of Langston Hughes, USA: African World Press, 1993.
5. Hutchinson, George, The Harlem Renaissance in Black and White, USA: Harvard, 1995.
6. Miller, R. Baxter, The Art and Language of Langston Hughes, USA: The University Press of Kentucky, 1989.
7. O'Daniel, Edward Jr., ed. Langston Hughes: Black Genius: A Critical Evaluation, New York: Morrow, 1971.
8. Wagner, Jean, Black Poets of the United States, USA: The Board of Trustees of the University of Illinois, 1973.
9. Walker, Alice, Langston Hughes, Americna Poet. New York: Crowell, 1974.
10. Sturrock, John, ed. Structuralism and Since, 渠东、李康等译，《结构主义以来》，辽宁教育出版社，1998。
11．张京媛：《新历史主义与文学批评》，北京大学出版社，1993。
12．董乐山：《文化的误读》，北京：中国社会科学出版社，1997。
2. Cooke, Michael, Afro-American Literature in the Twentieth Century: The Achievement of Intimacy, USA, 1984.
3. Hamilton, I., ed. Oxford Companion to 20th-Century Poetry, Shanghai Foreign Language Education Press, 2000.
4. Haskins, James, Always Movin'On: The Life of Langston Hughes, USA: African World Press, 1993.
5. Hutchinson, George, The Harlem Renaissance in Black and White, USA: Harvard, 1995.
6. Miller, R. Baxter, The Art and Language of Langston Hughes, USA: The University Press of Kentucky, 1989.
7. O'Daniel, Edward Jr., ed. Langston Hughes: Black Genius: A Critical Evaluation, New York: Morrow, 1971.
8. Wagner, Jean, Black Poets of the United States, USA: The Board of Trustees of the University of Illinois, 1973.
9. Walker, Alice, Langston Hughes, Americna Poet. New York: Crowell, 1974.
10. Sturrock, John, ed. Structuralism and Since, 渠东、李康等译，《结构主义以来》，辽宁教育出版社，1998。
11．张京媛：《新历史主义与文学批评》，北京大学出版社，1993。
12．董乐山：《文化的误读》，北京：中国社会科学出版社，1997。
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