袁可嘉的比喻理念的重审与再出发

摘要

The figurative theory of Yuan Kejia represents the achieve-ment and limits of modern Chinese poetics .We need to reflect on current va-rious theories of figures of speech , including Yuan Kejia ’ s, to reveal the im-portant and prevalent role of metaphor in modern Chinese poetry .We discover that Yuan Kejia did not notice the existence of metaphor and the tension of language itself , which makes his“Dramatist” theory not be able to go into the interior of language , thus not being able to explain the genesis of the “ten-sion” of lyrics.Moreover, one could not comprehend various functions and significances of tropes only from the perspective of “comparison”/resem-blance;he/she needs to recognize metaphor as dynamic of linguistic inven-tions, as a unique frame of statement , and a direct presentation of image . Only by eliminating these blind spots of Yuan Kejia ’ s poetics, could we un-derstand the meaning and validity of some important notions which Yuan pro-posed in the 1940s.We can also, by this reflection, start to open the space of the research of “Jiuye” poetics, even to unearth the motivity and mecha-nism of the linguistic development of modern Chinese poetry .We can go fur-ther to explore the complex relation between language , thought and history by analyzing metaphors in modern Chinese poetry .By the reflection of figurative problem, we can therefore hopefully construct a new paradigm in the research of modern Chinese poetry .%袁可嘉关于比喻的一些观点代表了新诗诗学研究对比喻问题的认识高度，也典型地反映了其局限。为了理解比喻在现代诗歌中的普遍性与深远意义，有必要反思现有的关于比喻／隐喻的认识。我们发现，袁可嘉对语言本身之张力与隐喻这一语言现象的认识有较大的不足，这使得他的“戏剧主义”理论无法深入到语言内部，因而也无法有效地解释抒情诗的“张力”问题。而且，仅从“比拟”／相似性的角度并不足以掌握隐喻多方面的功能和意义，我们还需要认识隐喻作为一种语言创新的动力、一种独特的陈述框架、一种直接呈现的形象化表达方式等多重面相。清除这些诗学盲点之后，我们才能重新认识1940年代的袁可嘉提出的一些重要的诗学概念的真正含义和有效性。通过这种反思，我们也得以重新“出发”，打开对“九叶”诗人的诗学策略的研究空间，甚至进一步认识新诗语言发展的动力和机制。以隐喻这一语言现象为突破口，我们可以进而分析诗歌语言与思想、历史之间的复杂关联。可见，对比喻问题的重审与再出发有望为新诗的诗学研究构建一个新的“范式”。