西方詩歌傳統與新月派詩人作品比較研究——以十四行詩爲例

Abstract

本文以十四行詩為主要研究對象，由早期的義體格式與英體的格律演變至中國新月派詩人的十四行詩。一方面討論十四行詩固有的特色，包含格律及内容兩方面，另一方面探究中國五四運動後的新詩發展，並在「傳統」及「現代」之間的張力下，十四行詩如何表達詩人的新審美觀，而以形式、節奏及題材三方面為比較因素來進行討論。 再者，本文論點亦涵蓋十四行詩之「音樂性」與詩之「美」，並以一、二〇年代中國文學的巨大改變為出發點，來談五四運動後，詩人所面對的挑戰：白話的推廣與文學形式之新標準息息相關，而詩歌棄傳統格律為此現象效果之一，故詩人必須找到新的可以表達現代「情感」的韻律方式。新月派詩人的十四行詩當作新詩創作方法之一。The sonnet is one of the most important metric form in western poetry tradition that had developed through time from italian metric form to the Shakespearean sonnet and, later, had a revival during Romantic Age. At the beginning of twentieth century, the Crescent Moon Society poets started a chinese tradition of the sonnet, finding their own particular way to create bai hua poetry. This thesis not only discusses the development of the sonnet, but also focuses on its role in early chinese modern poetry and, in particular, it concentrates on chinese sonnet's form, rhythm and themes, considering these three features as the starting points for a comparative literature dicussion. Moreover, this thesis highlights the musicality and the aesthetic value of poetry and, through the analysis of these two features, examines the debate about the connection between language and literary forms in early chinese modern literature, in particular the crisis of the poetic form faced by chinese poets after May Fourth Movement and how the sonnet constituted a way to find new ways of linguistic expression.