梁宗岱的诗律论是在同新月诗人讨论中形成的，但由于三个新的重要出发点，即新诗创格需要反映生命形式、需要提升新诗语言、需要继承旧诗传统，就实现了对新月诗律论的超越。梁宗岱把“彻底认识中国文字和白话底音乐性”作为先决条件，明确了汉诗节奏的本质特征，正面提出新诗不是音步而是音顿节奏的结论，探索了新诗节奏的进展体系建设问题；明确了汉诗音乐性大部基于停顿、韵、平仄和清浊，探索了新诗音质的组合体系建设问题；节奏理论和音韵理论的探索成果建构起梁宗岱的新诗格律论。%Formed in discussion with the Crescent poets, Liang Zongdai’s theory of versification goes far beyond their viewpoints on verses in three important aspects, namely neo-poetic pattern reflecting the form of life, improvement of the poetic language and inheritance of the traditional classical poetry. With his considerable knowledge of musicality in Chinese characters and vernacular, Liang clarified essential characteristics of the Chinese poetry rhythm, and positively concluded that neo-poetry was not reflected by foot but by sound of the rhythm. He tried to explore the development of the rhythmical system and tonal combination of neo-poetry and specified that musicality in Chinese poetry was mostly based on pause, rhyme, tonal pattern, and voiced and voiceless sound. Thus Liang’s achievements in the exploration of rhythm and rhyme contributed to the construction of the theory of neo-poetry.
展开▼
