Traditional Chinese lyric poetry is always known as″musical poetry″or″phonic poetry .″ Classical Poetics hermeneutics is also known as the tradition of″interpreting poetry in phonic way .″In the shock of the May Fourth Literature Revolution,however,such profound ancient ″phonic hermeneutics″tradition suffered a devastating blow and a fracture between ancient and modern Chinese poetics had then occurred .Which factors led to this fracture ?Firstly,modern vernacular poetry's inclining to colloquialism caused the loss of phonic tradition of classical poetry .Secondly,the loss of classical poetry's musicality made modern poetry lose its musical basis .Thirdly,the penetration of western poetry resulted in modern vernacular poetry gradually losing the roots of national language .Fourthly,several biases in modern reading practices such as neglecting reading while appreciating looking,excessive pursuit of beauty of statics and ignoring voice chanting while emphasizing meaning seeking caused missing of voice . Therefore,reconstructing tradition of phonic hermeneutics of modern Chinese poetry is particularly urgent and important . Modern hermeneutics of poetry is a new discipline born on the heels of modern poetry .From the poetics practices of many theorists of hermeneutics of poetry,the usual way of construction mainly starts with images and aims to explore the implication of poems by decoding metaphor,symbol,etc .and analyzing meaning of language .This kind of practice is admittedly essential but it is more far-away from hermeneutics tradition of Chinese poetics,which definitely keeps poetry critics with″Chinese feeling″worrying deeply .In fact,there are already some poetry theorists who reconstruct″phonic hermeneutics″of modern Chinese poetry starting with voice in the history of development of modern poetry,among which Zhu Ziqing and Zhu Guangqian are representatives . Their poetics constructions both have profound traditional features and their poetics practices also suggest that the construction of theory of modern phonic hermeneutics can find available resources in the profound poetics tradition called″zhiyin .″The tradition of classical″phonic hermeneutics″ provides not only possibility but also direction for the establishment of hermeneutics of modern poetry .Specifically,modern hermeneutics of poetry can be constructed along the following dimensions .The first level is called″yi sheng guan zhi″which grasps emotional aspects by voice . The second level is called″yin sheng xun yi,″that is,readers comprehend poem's meaning through voice chanting .The third level named″tong diao tong gan″could arouse responsive effect of″empathy″through chanting .The fourth level is to divine the realm of texture of poems by voice,namely″yuan sheng ru shen .″On these bases,in order to achieve the purpose of a fuller and deeper understanding of poetry,modern poetry theorists also invent a dramatic method of ″phonic hermeneutics″of modern poetry,which exerts itself to create a dramatic atmosphere and enhances artistic appeal by means of action and performance of recitation . The topic in question of this paper is original,the issue of″phonic hermeneutics″of modern poetry has long been neglected in poetry theory field .The problem consciousness of this paper is prominent,which highlights drawing on traditional resources to construct this core issue of theory of″phonic hermeneutics″of modern poetry .The argumentation of this paper is specific,two representative poetry critics Zhu Ziqing and Zhu Guangqian are examined here and a detailed and in-depth analysis has been made on their unique contribution to construction of modern poetics of″phonic hermeneutics .″The views and thoughts which have been put forward in this paper undoubtedly have significant reference value to the construction of a more complete theoretical prospect of modern Chinese poetry .
赵黎明. “声诗”传统与现代解诗学的“声解”理论建构[J]. 浙江大学学报(人文社会科学版), 2014, 44(2): 111-121.
Zhao Liming. The Tradition of″Phonic Poetry″and the Reconstruction of″Phonic Hermeneutics″in Modern Theory of Hermeneutics of Poetry. , 2014, 44(2): 111-121.