独白与复调——20世纪20-40年代中国现代诗歌新思考

巴赫金的复调理论以独特的方式构建了一种新型的文学分类法和“动态”的文学史模式，它以“独白的文学”与“复调的文学”相对照，把作品里的声音由“独白”到“复调”的变化，作为传统文学与现代文学的区分。这种文学史分析模式为我们提供了一种考察20世纪20-40年代中国现代诗歌的新思路。依循这种思路，我们发现原有的分析系统可能既缺乏准确的把握力度，也存在一定的漏洞。事实上，20—40年代中国现代诗歌并不是“线性地”从象征主义发展到现代主义，而是存在着“独白的诗”和“复调的诗”的杂错与对话。前一种诗以李金发、戴望舒、卞之琳等为代表，他们的诗是个人的“心灵史传”，反映着诗人个人生活中的一系列“精神事件”；后一种诗以鲁迅（《野草》）、穆旦为代表，他们的诗是分裂世界中的思想对话，是把主体推向他所在的世界，推到他的对立面，通过对话性描写，展示比主体世界更为丰富的“生存全景图”。两种诗歌既分属不同的系统，又统一在相同的对空。二者的共存和对话，说明中国现代诗歌“共时”地展现着传统的文学气质和现代的文学心声，透露出20世纪中国文学仍属“转型文学”的信息。

MONOLOGUE AND POLYLOGUE:New thought about Chinese Modern Poetry from the 1920s to 1940s

King Barher Polyogue Theory constructed a new type of literaty classification and dynanial mode of literary history. By comparing monologue literature and polyogue literature, it took the extension form monologue to polylogue that was in the work voice as difference between tradition literature and modern literature. We supplied other thought way inspecting Chinese modern poetry from the 1920s to 1940s. The development of Chinese modern poetry from 1920s to 1940s was not in linear and monologue form symbolism. While the poetry of monologue polylogue was in complex and dialogue. The former took Li Jinfa,Dai Wangshu and Ban Zhilin as represents,the lattrer took Luxun and Mudan as represents. Coexision and dialogue between them show that Chinese modern poetry displayed the tradional literary quality and modernal literary inner voice syndronically.