中国朦胧诗人的浪漫特质——以J．W．米勒和华兹华斯浪漫主义理论为参照

摘要

In the history of literary theories, romanticism is typically a ＂European＂ concept, though it has different meanings according to the specific period and historical background when it is used. J. W. Miller＇ s English Romanticism and Chinese Nature Poetry, written in 1972, deals mainly with the relationship between Romanticism and Chinese poetry and philosophy. By comparing J. W. Miller＇ s dicussion on Meng Haoran＇ s poems with the ＂Preface＂ to Lyrical Ballads by William Wordsworth, This paper illustrates the romantic traits of hazy verse in the 1960s -1970s. In the poems of Shi Zhi, Duo Duo, Mang Ke and some other poets, the restructure of the ＂I＂ subject identity, the change in the concept of time, and the recovery of people＇ s oral language, mean not only a reno- vation of the poetic language but also an impulse to an innovation in thinking, thus being full of a strong Romantic ethos.%在文学理论史中，浪漫主义是一个典型的“欧洲”概念，在不同时代不同历史语境中，指涉的意义也存在显著差异。J．W．米勒的《英国浪漫主义和中国的自然诗》写于1972年，主要介绍了浪漫主义和中国诗歌以及哲学的关系。参照米勒对孟浩然诗歌的论述，与华兹华斯的《抒情歌谣集》“前言”进行比较，在西方浪漫主义诗学传统中揭示20世纪60—70年代朦胧诗歌的浪漫主义倾向。食指、多多、芒克等诗歌表现出“我”的主体身份重构、变动的时间观念和日常话语的复活，不仅意味着诗歌语言的革新，也寓示了思想革新的冲动，具有强烈的浪漫主义精神特质。