个人话语空间中的诗艺探索
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摘要
自“潜在写作”的概念被提出及此前杨健《文化大革命中的地下文学》等著作出版开始,地下诗歌(潜在写作最主要的部分)已经受到了学界的普遍重视,其中一部分作品和作家已经进入了文学史,或者引起学者的关注和研究。但也同样存在着一些问题。一方面,地下诗歌的文学史定位和书写存在大而化之的问题,文学史肯定了其地位(其中主要是文学史以及思想史的意义),但并没有对其艺术特色进行细致深入的研究;另一方面,文学史的写作中涉及到地下诗歌的问题时,只是在论述文革后的新诗潮和“归来者”的诗歌创作时有所提及,并没有将其放在当时的时代,进行某些共时性的比较,这样就不能正确和客观地评价一个时期的文学成就,也不利于文学史的整合;其三,有些诗人和作品还是被遮蔽的,并没有进入文学史,而他们的诗歌艺术,和作为一个文化现象都是有一定意义的,例如北京诗人灰娃,上海诗人陈建华、钱玉林等的创作。只有处理好以上几个问题,才能使我们的当代文学史更明晰、更完整、更合理。
本文从文本出发,以其文化和社会背景、作者的个人经历和思想等为参考,将其放在其所处的时代之中,进行一些有益的历时性或共时性的比较,分析地下诗歌的艺术特色。并采取整体分析和个案研究相结合的方法,从共性和个性两个不同的侧面全面展示地下诗歌的风貌。论文主要分为三个部分:
第一部分主要分析地下诗歌所表现出来的那种生命在困厄中的坚韧以及在此基础上的反思和抗争,以流放诗人的诗作为主。苦难是他们共同的命运,然而一方面,他们虽经历了命运的巨变,却没有堕入虚无和绝望,而是用诗歌诉说苦难,坚定信念,反思时代,抵达智慧的福地,融入诗歌便形成了一种优秀的审美质素;另一方面,苦难的命运在剥夺他们写作权利的同时,也给他们创造了一个脱离主流话语的机会,他们重新用自己独特的眼光和言说方式进行诗歌创作,产生了如绿原的《重读<圣经>》、郭小川的《团泊洼的秋天》、穆旦的《神的变形》等优秀的诗作,而且相比他们自己以往的诗歌,诗艺也有所提升。
第二部分主要分析地下诗歌表现出的觉醒与反叛,以觉醒的一代青年的诗作为代表。相对于流放诗人而言,流放诗人的抗争主要面对自我内心,而青年们面对的是乖谬的时代和社会。同时相对于流放诗人诗艺的提升,青年则更是在觉醒与反叛的基础上创造出一种能更有效地言说时代的新的诗歌形式,成为新诗潮的滥觞。不仅产生了食指、北岛、多多这些当代诗坛的大诗人,也产生了《相信未来》、《回答》、《三月与末日》这样优秀的诗作。
第三部分主要分析地下诗歌中不被读者和研究者关注的浪漫与忧伤的审美维度,以及黄翔等诗人诗中的启蒙道路。“文革”时期不仅存在着主流诗歌和地下诗歌两种诗歌形态,在地下诗歌内部同样存在着除了觉醒与反叛之外的审美维度,如陈建华等人自觉疏离于政治、书写浪漫与忧伤的一维。无论是其“非政治”化的诗意经营,还是对痛苦和忧伤的独特呈现,都有其自身的独异性和审美价值,其后来被遮蔽的命运也值得深思。
总之,进行地下诗歌写作的诗人们真诚地呈现出了自己独特的生命体验,艰难地开拓了个人话语空间,并在此基础上创作出了具有极高艺术水平的诗歌作品。它们是整个“文革”十年最具艺术性和思想性的文学财富,它们不仅应该进入文学史而且也应该成为“文革”文学的主体。
Since the concept,“hidden writing”was brought forward and remarkable pieces of word such as The Underground Literature of the Cultural Revolution by Yang Jian were published, underground literature (which is the major part of hidden writing) attracted much attention from the academic circle. Some writers and their works have been recognized as part of literary history, or have been noticed and studied by scholars. However, there are problems at the same time. On the one hand, there has not been specific study about the literary status and writing of the underground poetry. It has been recognized as part of literary history (most for its influences in literary history and intellectual history), but there is no profound and meticulous study about its artistic features. On the other hand, in literary history, underground poetry is only mentioned in the discussion of new Chinese poetry after the Cultural Revolution and“the returnee poetry”, and it has not been put into its historical background and compared with other poems in a synchronic way. Therefore, we can hardly make correct and object judgments the literary achievements of the whole era, which is also to the detriment of the integration of literary history. Last but not least, some poets and their works are still neglected, not being recognized as achievements in literary history. However, their poetry and the phenomenon of their poems are meaningful to a certain degree. For example, the works of Beijing poet, Hui Wa, and the creation of Shanghai poets, Chen Jianhua and Qian Yulin deserve their own status. Only when these problems are solved, can we make our modern literary history clearer, more complete and more reasonable.
This thesis is based on specific literary contexts and takes into consideration their cultural and social backgrounds, and the personal experiences and thoughts of their authors. In order to analyze the artistic features of underground poetry, the contexts are put into their historical background to be studied through some beneficial diachronic and synchronic comparison and contrast. The thesis is divided into three parts:
The first part focuses on analyzing the toughness of life in distress and the introspection and resistance therefore generated, which the underground poetry has shown. The first part concentrates on the poetry exiled poets. For those poets, their destiny is characterized by tribulation. Nevertheless, this produces special effects. On the one hand, although they have suffered dramatic changes, they have never allowed themselves to degenerate into emptiness and desperation. What they have done is to express their pain in poetry, holding on to their belief, rethinking their time, and obtaining precious wisdom. Moreover, a splendid aesthetic quality has been formed thereby. On the other hand, while their miserable life has deprived them of the right of writing, they have been given a chance to get rid of the mainstream writing. They have been able to start to create poems from their unique perspectives and in their special language styles. Thus excellent poems, such as Reread Bible by Lv Yuan, Autumn of Tuan Bowa by Guo Xiaochuan, The Transformation of God by Mu Dan and so on have come into being. Those poems are artistically improved than their counterparts previously written by the same writers.
The second part mainly deals with the disillusionment and rebellion which the underground literature displays, with a focus on the poems of awakened young poets. Compared with the exiled poets, whose resistance is mainly against their own inner world, the young poets are confronted with the ridiculous time and society. The exiled poets have improved their literature skills while the young poets have created a poetic style which can describe the specific time more effectively. This has started the new Chinese poetry. As a result, great poets of modern poetry, such as Shi Zhi, Bei Dao, and Duo Duo have come to the public from that time; prominent poems such as Believe the Future, An Answer, and March and the End have been created.
The third part is mainly about the romantic and melancholy angle of aesthetics of underground poetry, which has not attracted much attention from scholars and readers alike. It also deals with the enlightening road embodied in the poems of Huang Xiang and other poets. During the Cultural Revolution, there are two schools of poetry, the mainstream poetry and the underground poetry. More importantly, there are different schools within the underground poetry. The underground poetry is not all about disillusionment and resistance. There is another kind of perspective. For instance, poets such as Chen Jianhua have consciously avoided politics and written about romance and melancholy. Both the non-political poetic endeavors and special display of misery and melancholy of such poems are unique and have their own aesthetic values. It is meaningful to meditate on the reason why such poems were covered and neglected.
All in all, the poets of underground poetry have honestly presented their unique life experiences, enlarged their personal linguistic space with difficulty, and succeeded in creating high level poems with precious artistic values. Form the artistic and ideological perspective, those poems are the most important literature treasure in the decade of Cultural Revolution. They should not only be included in the literary history, but also become the main part of the Cultural Revolution literature.
本文从文本出发,以其文化和社会背景、作者的个人经历和思想等为参考,将其放在其所处的时代之中,进行一些有益的历时性或共时性的比较,分析地下诗歌的艺术特色。并采取整体分析和个案研究相结合的方法,从共性和个性两个不同的侧面全面展示地下诗歌的风貌。论文主要分为三个部分:
第一部分主要分析地下诗歌所表现出来的那种生命在困厄中的坚韧以及在此基础上的反思和抗争,以流放诗人的诗作为主。苦难是他们共同的命运,然而一方面,他们虽经历了命运的巨变,却没有堕入虚无和绝望,而是用诗歌诉说苦难,坚定信念,反思时代,抵达智慧的福地,融入诗歌便形成了一种优秀的审美质素;另一方面,苦难的命运在剥夺他们写作权利的同时,也给他们创造了一个脱离主流话语的机会,他们重新用自己独特的眼光和言说方式进行诗歌创作,产生了如绿原的《重读<圣经>》、郭小川的《团泊洼的秋天》、穆旦的《神的变形》等优秀的诗作,而且相比他们自己以往的诗歌,诗艺也有所提升。
第二部分主要分析地下诗歌表现出的觉醒与反叛,以觉醒的一代青年的诗作为代表。相对于流放诗人而言,流放诗人的抗争主要面对自我内心,而青年们面对的是乖谬的时代和社会。同时相对于流放诗人诗艺的提升,青年则更是在觉醒与反叛的基础上创造出一种能更有效地言说时代的新的诗歌形式,成为新诗潮的滥觞。不仅产生了食指、北岛、多多这些当代诗坛的大诗人,也产生了《相信未来》、《回答》、《三月与末日》这样优秀的诗作。
第三部分主要分析地下诗歌中不被读者和研究者关注的浪漫与忧伤的审美维度,以及黄翔等诗人诗中的启蒙道路。“文革”时期不仅存在着主流诗歌和地下诗歌两种诗歌形态,在地下诗歌内部同样存在着除了觉醒与反叛之外的审美维度,如陈建华等人自觉疏离于政治、书写浪漫与忧伤的一维。无论是其“非政治”化的诗意经营,还是对痛苦和忧伤的独特呈现,都有其自身的独异性和审美价值,其后来被遮蔽的命运也值得深思。
总之,进行地下诗歌写作的诗人们真诚地呈现出了自己独特的生命体验,艰难地开拓了个人话语空间,并在此基础上创作出了具有极高艺术水平的诗歌作品。它们是整个“文革”十年最具艺术性和思想性的文学财富,它们不仅应该进入文学史而且也应该成为“文革”文学的主体。
Since the concept,“hidden writing”was brought forward and remarkable pieces of word such as The Underground Literature of the Cultural Revolution by Yang Jian were published, underground literature (which is the major part of hidden writing) attracted much attention from the academic circle. Some writers and their works have been recognized as part of literary history, or have been noticed and studied by scholars. However, there are problems at the same time. On the one hand, there has not been specific study about the literary status and writing of the underground poetry. It has been recognized as part of literary history (most for its influences in literary history and intellectual history), but there is no profound and meticulous study about its artistic features. On the other hand, in literary history, underground poetry is only mentioned in the discussion of new Chinese poetry after the Cultural Revolution and“the returnee poetry”, and it has not been put into its historical background and compared with other poems in a synchronic way. Therefore, we can hardly make correct and object judgments the literary achievements of the whole era, which is also to the detriment of the integration of literary history. Last but not least, some poets and their works are still neglected, not being recognized as achievements in literary history. However, their poetry and the phenomenon of their poems are meaningful to a certain degree. For example, the works of Beijing poet, Hui Wa, and the creation of Shanghai poets, Chen Jianhua and Qian Yulin deserve their own status. Only when these problems are solved, can we make our modern literary history clearer, more complete and more reasonable.
This thesis is based on specific literary contexts and takes into consideration their cultural and social backgrounds, and the personal experiences and thoughts of their authors. In order to analyze the artistic features of underground poetry, the contexts are put into their historical background to be studied through some beneficial diachronic and synchronic comparison and contrast. The thesis is divided into three parts:
The first part focuses on analyzing the toughness of life in distress and the introspection and resistance therefore generated, which the underground poetry has shown. The first part concentrates on the poetry exiled poets. For those poets, their destiny is characterized by tribulation. Nevertheless, this produces special effects. On the one hand, although they have suffered dramatic changes, they have never allowed themselves to degenerate into emptiness and desperation. What they have done is to express their pain in poetry, holding on to their belief, rethinking their time, and obtaining precious wisdom. Moreover, a splendid aesthetic quality has been formed thereby. On the other hand, while their miserable life has deprived them of the right of writing, they have been given a chance to get rid of the mainstream writing. They have been able to start to create poems from their unique perspectives and in their special language styles. Thus excellent poems, such as Reread Bible by Lv Yuan, Autumn of Tuan Bowa by Guo Xiaochuan, The Transformation of God by Mu Dan and so on have come into being. Those poems are artistically improved than their counterparts previously written by the same writers.
The second part mainly deals with the disillusionment and rebellion which the underground literature displays, with a focus on the poems of awakened young poets. Compared with the exiled poets, whose resistance is mainly against their own inner world, the young poets are confronted with the ridiculous time and society. The exiled poets have improved their literature skills while the young poets have created a poetic style which can describe the specific time more effectively. This has started the new Chinese poetry. As a result, great poets of modern poetry, such as Shi Zhi, Bei Dao, and Duo Duo have come to the public from that time; prominent poems such as Believe the Future, An Answer, and March and the End have been created.
The third part is mainly about the romantic and melancholy angle of aesthetics of underground poetry, which has not attracted much attention from scholars and readers alike. It also deals with the enlightening road embodied in the poems of Huang Xiang and other poets. During the Cultural Revolution, there are two schools of poetry, the mainstream poetry and the underground poetry. More importantly, there are different schools within the underground poetry. The underground poetry is not all about disillusionment and resistance. There is another kind of perspective. For instance, poets such as Chen Jianhua have consciously avoided politics and written about romance and melancholy. Both the non-political poetic endeavors and special display of misery and melancholy of such poems are unique and have their own aesthetic values. It is meaningful to meditate on the reason why such poems were covered and neglected.
All in all, the poets of underground poetry have honestly presented their unique life experiences, enlarged their personal linguistic space with difficulty, and succeeded in creating high level poems with precious artistic values. Form the artistic and ideological perspective, those poems are the most important literature treasure in the decade of Cultural Revolution. They should not only be included in the literary history, but also become the main part of the Cultural Revolution literature.
引文
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