卞之琳：创新的继承

文学影响的课题提出一个互文性的特殊挑战，因为影响的发生倾向于不规则和无意识的过程，很难做出简单的因果判断。而当文学影响涉及跨文化的互动时，就更为困难，因为动机与接受，借用与实践之间的落差以及两个文化传统的介入使得问题变得更加复杂。卞之琳成于1930-1937年的作品，展现了对作家的多元影响之间的必然的有机关联。卞之琳自己及很多批评家都明白指出象征主义与现代主义对其作品的影响，但是他对西方影响的敏感度，很可能源自中国传统的背景，尤其是道佛思想，因为现代主义诗学补充强化了诗人的中国根柢，为其创作提供了具体的表现策略。反之，卞之琳的道佛思想倾向也给予他接受现代主义诗学一个特殊的视野角度，从而构成一个特殊的东西文学交流的例子。

Bian Zhilin: A Man Who Inherits Creatively

The problem of literary influence issues a special intertextual challenge, for such influence tends to be irregular and unconscious and is hard for us to have a simple cause-effect judgment. It is even harder to have such a judgment when literary influence involves cross-cultural interaction because the discrepancy between motivation and acceptation, between borrowing and practice, and the involvement of two different cultural traditions complicate the problem. Bian＇ s works during the 1930--1937 period demonstrate the natural organic relations among the multiple factors that affect the poet. Bian himself and many critics have pointed out the influence of symbolism and modernism on his works, but his sensitivity to the Western influence may result from the Chinese traditional culture, especially Taoism and Buddhism, -the modernist poetics complements and strengthens his Chinese base and offers concrete representation strategy for his creation. On the other hand, his Taoist and Buddhist thoughts help him accept the modernist poetics from a special angle, formulating a particular example of literary exchange between the East and the West.