從新批評到結(jié)構(gòu)主義詩學(xué)

1、從新批評到結(jié)構(gòu)主義詩學(xué)新批評種種分析方法意象：顏元叔 分析長恨歌以梨花一枝春帶雨概括長恨歌李英豪分析方莘膜拜：黃昏的天空，龐大莫名的笑靨啊在奔跑著紅髮雀斑頑童的屋頂上被踢起來的月亮是一隻剛吃光的鳳梨罐頭鏘然作響。（方莘）在黝黑、赤裸的樹上，發(fā)霉的雪膏一般月，死了一般掛著，腐敗了未茁長的葉芽（弗林脫： “Eau Forte”）赤色的月俯在樹籬上像一位紅臉膛的農(nóng)夫星星，有白色的臉像鎮(zhèn)上的孩子們。（休姆： 秋。借用方思譯文 ）1李英豪、顏元叔的評論方法李英豪：意象是一首詩基本構(gòu)成。羅威爾(Amy Lowell)：意象是欲於一瞬間把知與情的複合體呈現(xiàn)出來。龐德(Ezra Pound)：所謂意象，就是在

2、熔融狀態(tài)下觀念之漩渦或凝聚，且?guī)в心軇?dòng)力。凝密、堅(jiān)實(shí)、濃縮、雄偉、深沉顏元叔：定向疊景、用典(白居易？辛笛？)、積極意義、跨行(run on lines)葉維廉：裂帛之下午披帶著.李英豪：語法、詞性、語言動(dòng)向、詩自身結(jié)構(gòu)的戲劇性動(dòng)向、相反相成、相尅相生、濃淡、矛盾渾成一致。阿倫泰特(Allen Tate)：張力(tension)是外延力(extension)和內(nèi)涵力(intension)的完整有機(jī)結(jié)合。呂恰慈：詩組合了雜繁相異的元素(heterogeneous elements)。思考問題：港臺六、七O年代的新批評有沒有當(dāng)時(shí)的內(nèi)在需要？2葉慈詩航向拜占庭Sailing to Byzantium

3、 by W. B. Yeats1.That is no country for old men. The youngIn one anothers arms, birds in the trees- Those dying generations at their song,The salmon-falls, the mackerel-crowded seas,Fish, flesh, or fowl, commend all summer longWhatever is begotten, born, and dies.Caught in that sensual music all neg

4、lectMonuments of unaging intellect.2.An aged man is but a paltry thing,A tattered coat upon a stick, unlessSoul clap its hands and sing, and louder singFor every tatter in its mortal dress,Nor is there singing school but studyingMonuments of its own magnificence;And therefore I have sailed the seas

5、and come To the holy city of Byzantium.3.O sages standing in Gods holy fireAs in the gold mosaic of a wall,Come from the holy fire, perne in a gyre,And be the singing-masters of my soul.Consume my heart away; sick with desireAnd fastened to a dying animalIt knows not what it is; and gather meInto th

6、e artifice of eternity.4.Once out of nature I shall never take, My bodily form from any natural thing,But such a form as Grecian goldsmiths makeOf hammered gold and gold enamelingTo keep a drowsy Emperor awake;Or set upon a golden bough to singTo lords and ladies of ByzantiumOf what is past, or pass

7、ing, or to come.3葉嘉瑩：談中國舊詩的傳統(tǒng)駁顏元叔談自君之出矣：思君如明燭，中宵空自煎。4結(jié)構(gòu)主義來源索諸爾 Ferdinand de Saussure普通語言學(xué)教課程(論稿)語言體系語言系統(tǒng)(langue)；言語活動(dòng)(parole)俄國形式主義普拉普(Vladimir Propp)神仙故事有三十一種功能(function)雅克慎(雅各布信(Roman Jakobson) ：文學(xué)性(literariness)俄國形式主義談陌生化(defamiliarization)主將李維史陀(Claude Levi-Strauss):人類學(xué)家羅蘭巴特 Roland Barthes): 文學(xué)評

8、論、符號學(xué)5高友工、梅祖麟論唐詩：唐詩的語法、用字與意象唐詩的隱喻與典故雅克慎(Roman Jakobson)：詩歌中的對等(equivalence)原理詩歌中最重要的特性：選擇與連結(jié)6選擇：連結(jié)：小孩、孩子、兒童、細(xì)蚊仔、老人精、小不點(diǎn)、寶貝小孩不笨小孩要睡覺了小孩人細(xì)鬼大小孩子不能吸煙 小孩子胃口大孩子是我們未來的主人試以梨花一枝春帶雨演繹？詩歌的功能在於把對等原理從選擇的層面投射到結(jié)合的層面去7聲韻用字的層次頭韻、雙聲、疊韻、對仗、對比隱喻關(guān)係：對等原理用到語意層面：李白送友人浮雲(yún)遊子意落日故人情杜甫江漢思?xì)w客乾坤一腐儒杜甫落日心猶壯秋風(fēng)病欲蘇8對等原理用到詩行結(jié)構(gòu)李白靜夜思床前明月光，

9、疑是地上霜舉頭望明月，低頭思故鄉(xiāng)李白玉階怨：玉階生白露夜久侵羅襪卻下水晶簾玲瓏望秋月參看程抱一論文9風(fēng)景(其二) 林亨泰防風(fēng)林 的外邊 還有防風(fēng)林 的外邊 還有防風(fēng)林 的外邊 還有然而海 以及波的羅列然而海 以及波的羅列10When You Are Old W.B. YeatsWhen you are old and gray and full of sleep,And nodding by the fire, take down this book,And slowly read, and dream of the soft lookYour eyes had once, and of th

10、eir shadows deep;How many loved your moments of glad grace,And loved your beauty with love false or true,But one man loved the pilgrim soul in you,And loved the sorrows of your changing face;And bending down beside the glowing bars,Murmur, a little sadly, how Love fledAnd paced upon the mountains ov

11、erheadAnd hid his face amid a crowd of stars11一個(gè)尋常的雨天坐在圖書館窗前讀書翻開的書頁上有人說詩是施諸日常言語上的一種有組織的暴力行為雨這就落下來，我抬頭看見它把現(xiàn)實(shí)染成濡濕，雨的緩急和疏密叫我看見風(fēng)在撫引，羣樹柔順地呼應(yīng)，溢出日常的韻律是在這四壁圖書之間曾有過猛烈的地震所有的書都動(dòng)搖了有人尖叫起來悸動(dòng)的心突然注視抖索的世界洶湧的熱情搖晃牆壁叫人回答它當(dāng)鉛筆掉落地上輕脆的紙張飄散顫慄的人尋找依靠的懷抱現(xiàn)在有些樹已落盡葉子了當(dāng)我思慮過多胃部隱隱絞痛的時(shí)候我繼續(xù)翻閱俄國形式主義者對詩的看法，用一枝新削的鉛筆在紙上寫字，或是走出圖書館一九八零年一月獨(dú)自在吃午飯，我把帽子翻起來默默行走在濡濕的路上林木間淤積的沙堆上有清淺的流