“言志”诗学对中国现代文学的内在影响(英文)

否定与批判“言志”诗学，曾是中国现代文学转型的标志。但从五四新文学开始，“言志”诗学不仅没有被剔出中国现代文学的审美范畴，相反，却借助于西方话语得到合理的传承。“言”救亡图存的启蒙之“志”，与“抒”忧国忧民的个人之“情”，中国现代文学都未摆脱“志”者“大情”、“情”者“小志”的传统思维，具体表现在：主“思”派提倡文学创作的功利意识，进而以“志”代“情”回归“道”统；主“情”派则提倡文学创作的真情实感，进而以“情”传“志”，回归“道”统。中国现代文学的理论与实践，虽然涂抹着光怪陆离的“西化”色彩，但其重新“释道”与巧妙“言志”的本质特征，恰恰表明了它对传统文化的价值认同，而不是简单地抛弃“传统”后走向了“西方”。

The Intrinsic Influence of the Poetics of Yanzhi on Modern Chinese Literature

Rejection and denunciation of the poetics of "yanzhi" (literally "expressing one’s thought or ideals") was once a marker of Chinese literature’s modern transformation. However, right from the beginning of May Fourth new literature, the poetics of "yanzhi" was not only not cast out of the aesthetic canon of modern Chinese literature but was, on the contrary, legitimately transmitted via Western discourse. Whether modern Chinese writers were expressing enlightenment ideas of saving the nation or voicing their personal feelings for their country and their people, they remained convinced that "zhi" was "feelings" writ large and "feelings" were a lesser form of "zhi." Specifically, the school stressing the idea that "literature expresses thought" advocated utilitarian literary creation and returned to the traditional Chinese poetics of "yanzhi" by replacing "feelings" with "zhi." Those stressing the idea that "literature expresses feelings" advocated writing with genuine emotion; they went on to express "zhi" via "feelings," thus returning to the traditional Chinese way of thought. Both the theory and practice of modern Chinese literature have a strange "Western" tint. Nevertheless, this literature’s essential character of "reinterpreting the ‘dao’ (way)" and sophisticated "expression of thought" or "yanzhi" indicate its value identification with traditional culture rather than the simple abandonment of "tradition" in pursuit of "the West."