新詩中的“城”與“鄉”

The City and Countryside in Modern Chinese Poetry

Abstract

LANGUAGE NOTE | Document text in Chinese; abstract also in English.

清末民初的文化革新促使中國文學的大觀念發生了轉變，傳统鄉土詩學的穩固性逐步動摇。伴隨著現代都市文化在中國的興起，詩人開始在“願望時間”（wish-time）與“願望空間”（wish-space）之中體驗到價值層面（城市化、現代化、西方化）與經驗層面（對鄉土中國的深厚情感）的錯位感，其美學（文化）現代性對資產階級現代性的拒斥集中體現在對城市和鄉村複雜的態度上。通過不斷地經驗整合，現代都市話語成爲新詩重要的理論資源，它所引領的速度感和空間模式、技術崇拜、商業氣息都在一定程度上契合了新詩自身變革的内在要求，而傳統的“鄉土/田園”抒寫則演繹成爲城市宏觀視野之中的潜在詩性結構。作爲城市抒寫的表達方式之一，抒情者透過“城鄉邊緣人”的觀察視角爲其多樣性的生存方式作出詮釋，從而拓展了新詩寫作的精神空間。

The cultural reform during the late Qing and early republican periods gave direct rise to dramatic changes in the general concept of Chinese literature. Consequently, the deep-rooted local-rural poetics began to find itself in a shaky position. As Chinese urban culture grew up, modern poets began to experience and feel the displacement between their “wish-time” and “wish-space.” This kind of displacement occurred at the level of value and that of experience; the former was a reaction to urbanization, modernization, and Westernization, while the latter concerned one’s keen attachment to China as a rural homeland. The poets’ attitudes towards the city and countryside were complex. The continuous integration of experiences turned the modern city discourse to an important theoretical resource. The modern city introduced new elements, such as a sense of speed, spatial mode, technolatry, and hue of business. These elements to a certain extent accorded with the internal features needed for the development of modern poetry. The traditional homeland/idyllic writing, on the other hand, had evolved to a poetic structure hidden behind the broad vision of the city and become one of the representation modes for versification on this topic. The lyrical poet took the point of view of “a person between the city and countryside” in the explanation of his/her many different ways of living and thus broadened the spiritual space in modem poetry.