“文学革命论”与陈独秀的旧诗创作实践

发布时间：2018-01-14 20:24

本文关键词：“文学革命论”与陈独秀的旧诗创作实践　出处：《文艺研究》2017年11期 　论文类型：期刊论文

【摘要】：陈独秀的旧诗创作实践与其"文学革命论"看似矛盾,但其实未必存在真正的价值冲突。对读《文学革命论》和20世纪30年代陈独秀在狱中关于诗歌的谈话,可以发现陈独秀对旧诗的存废问题采取悬置的审慎态度,这就为旧诗留下暧昧的生存空间。"文学革命论"的实质不在于形式与语言的变革,而在于创作主体的精神新生。陈独秀本人创作的旧诗在自我与社会、自我与他者、自我与灵魂三个层面呈现出深刻的思想变革,在精神气质上指向现代,与他所反对的旧文学不可同日而语。这些创作在思想艺术上是一流情思的完美结合,也是古典诗歌现代嬗变的重要成果。因此,陈独秀的旧诗创作实践不仅与"文学革命论"并无龃龉,反而是其理论的最佳释证。
[Abstract]:Chen Duxiu's writing practice of old poetry and his "Literary Revolution" seem contradictory. But in fact there may not be a real conflict of value. On the reading of "Literary Revolution" and Chen Duxiu in prison in 1930s about poetry conversation. It can be found that Chen Duxiu takes a suspense and cautious attitude towards the problem of the preservation and abolition of old poems, which leaves a vague living space for the old poems. The essence of the Literary Revolution is not the change of form and language. Chen Duxiu's old poems show profound ideological changes in three aspects: self and society, self and other, self and soul, and point to modern spirit. These works are the perfect combination of first-rate emotion in thought and art, and are also the important achievements of the modern evolution of classical poetry. Chen Duxiu's writing practice of his old poems is not only the best proof of his theory, but also has no discord with the Literary Revolution.
【作者单位】：上海交通大学中文系;
【基金】：教育部人文社科研究基地重大项目“古今中西之争与后五四时代建设性的中国文论研究”(批准号:16JJD750016) 上海市“浦江人才计划”C类项目(批准号:17PJC069)成果
【分类号】：I207.25
【正文快照】： 1917年2月,陈独秀在《新青年》发表《文学革命论》,猛烈攻击“贵族文学”、“古典文学”和“山林文学”(1),与胡适一起拉开新文学运动的序幕。反讽的是,陈独秀本人却在此前和此后创作了数量可观的旧体诗。依据2006年辑本《陈独秀诗存》,去除可能误收的诗作,至少有一百五十八首

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