【作者】 卢志娟；

【导师】 陶长坤；

【作者基本信息】 内蒙古师范大学 ， 中国现当代文学， 2005， 硕士

【摘要】 在中国现代文学史上众多的诗人中,何其芳被称作“画梦诗人”, 而他的早期散文则被称作“独语体”。作为“现代派”重要作家,何其芳30 年代的早期诗文从意象的选择、主题内蕴的构建等各方面均显示出与这派其他作家的诗歌和散文不同的审美特征。何其芳诗文中最为核心也最为重要的意象是“梦”,而填充这一抽象意象的又有如下一些意象系列:首先,人物意象系列,其中又可细分为少女意象,老人意象,自我意象;其次是自然意象,水意象独居此类意象之首,此外还有大量的植物、动物意象和古城荒街,城堡废楼等意象,以及不同的时间意象:以1933 年夏为界,之前多为秋、黄昏,之后多是冬、夜晚。概言之,何其芳诗文中的意象经历了由香草美人到古城荒漠的历程。通过对何其芳诗文意象的系统化分类和原型解读,即可破译隐含其中的三个不同的主题意蕴层面,即:爱与美的执着追求;梦与实的深层反观;生与死的终极思考。主题内蕴的多重构建使何其芳的诗文作品获得了经久不衰的艺术生命力和艺术魅力。何其芳一方面撷中国古典诗文之风,一方面采西方异域之云,为自己的诗文酝酿出一派如梦如烟的诗意境界。他以中西合璧的亦真亦幻的艺术手段为我们描画出一幅幅流光溢彩的诗意画面;构筑起一个个镜花水月的诗意空间,亦使我们深深体味到笼罩于这画面与空间四周的缕缕孤独凄绝的诗意情调。何其芳是在“新月”诗风影响下走上诗坛的,因此,他的诗歌最初是严格恪守“新月”诗律的,但他很快就逐渐走出“新月”光环的笼罩,步入“现代”的散文化阶段。几乎同时,他开始了“不分行的抒写”,即散文创作,而这些散文又体现出鲜明的诗化特征。因此,在总体上,何其芳的诗文体现出一种融汇贯通的一致审更多还原

【Abstract】 Among the numerous poets in the history of Chinese modern literature, He Qifang is called “dream-drawing poet”, and his poems and proses are classified as “monologue”style. As an important writer in the “modernist school”, He Qifang had shown his distinctive aesthetic feature different from other writers’of this school in his early poems and proses in 1930s,especially in the choosing of imageries and the structure of their theme content. The most important and nuclear imagery in He Qifang’s poems and proses is the “dream”, and to enrich this abstract imagery, there are lots of imagery series: first, the character imagery series which can be further divided into maiden imageries, the aged imageries and self-imageries; Second, the nature imageries, among which the water imagery ranks the first place. Moreover, there are many plant, animal imageries and imageries of ancient cities with deserted streets and castles with destroyed buildings. There are different time imageries. The summer in 1930 is the boundry, before which they are mostly autumn and dusk, after it, winter and night. In a word, the imageries in He Qifang’s poems and proses experienced a course from fragrant plants and beauties to the ancient cities and deserts. By systematically classifying and prototype understanding his imageries, we can discover there are different themes between lines, that is: striving perseveringly for love and beauty; deep survey of the dream and fact; ultimate pondering over life and death. It is the poly-structure of the theme content that makes He Qifang’s poems and proses gained a prolonged artistic life and charm. He Qifang on the one hand inherited the styles and features of Chinese classical poems, on the other hand absorbed the essence of western literature, and had successfully brewed a misty and dreamlike mood in his poems and proses. With his both factual and imaginary artistic methods and a good combination of Chinese and western element, he had drawn pieces of splendor poetic pictures for us, and built one and another poetic space which is like flowers in a mirror and the moon in the water. From them, we deeply savour wisps of lone and mournful poetic pathos under or around the picture and space. He Qifang joined the circle of poets under the influence of the “new moon”style. So at first, his poems are strict to “new moon”prosody, but soon, he gradually cast off the glorious shroud of the “new moon”, and stepped into “modern”prose style. Almost at the same time, he began to “write in non-divided lines”, that is to compose proses. And these proses have distinct poetic features. So in general, his proses embody a kind of thorough comprehension and coherent aesthetic character. There are inner factors and external influence sources that make HeQifang’s proses into the spiritual “monologue”in the “modern”aesthetics world. His innate temperament, character and the experiences of his early life are the main inner causes of his “monologue”style poems and proses. Nurtured by Chinese classical poems including the Sao style created by Qu Yuan, rhapsody cultivated from Han Dynasty and poem style in the late Tang Dynasty, He Qifang was also influenced by the western Romanticism, Symbolism, the style of English and American modern school, the master pieces of poets and writers at that time. A general survey of He Qifang’s early proses between 1930 and 1937, has in ideology shown the long and rugged “Road in dreams”taken by a larger number of liberal intellectuals at that time, and has stated clearly that the Chinese new poem and modern prose has come to its nature period finally after the development in 1920s. Every tributary of Chinese modern literature has converged at last into a vast and mighty spring river flowing in the sea of world literature. And He Qifang’s poems and proses are just a stream of spring water in this river of art.更多还原