內質與外形──論梁宗岱的「商籟」及其詩學意義

Nature and Form: Liang Zongdai's Sonnets and Their Significance for Poetics

梁宗岱的詩論曾經在1930年代的詩壇扮演重要角色。過去的研究重心主要放在梁宗岱象徵主義詩學概念的闡發與譯介，以及中國新詩格律的建構上。梁宗岱的十四行詩〈商籟（六首）〉（1933－1939）作為同時期的書寫，有重探的必要。本文以梁宗岱的十四行詩為中心，結合詩歌論述，討論它們相互支援、呼應的具體連結。全文由三個部分組成：首先討論梁宗岱十四行詩的書寫意義，指出「商籟」的命名有明顯承繼傳統的意向，以及其在十四行詩史中的象徵意義；其次，具體觀察梁宗岱如何經由格律理論的倡議與十四行詩實踐，回應為中國新詩的困境；最後，討論後期象徵主義理論如何引發書寫上的詩意與衝突。經由這三個部分的討論，本文發現，梁宗岱的象徵主義帶有強烈的梵樂希色彩，而〈商籟（六首）〉與象徵主義的結盟，表明詩人對於純詩與古典的嚮往；從詩史角度來看，梁宗岱更新了漢語十四行詩與象徵主義的關係，但亦有所侷限。 Liang Zongdai's poetics played important roles in the 1930s. Previous research is mainly about the interpretation of Liang Zongdai's poetic theories on symbolism and construction of the form for Chinese new poetry. It is necessary to revisit Liang Zongdai's ＂Six Sonnets＂ (1933-1939) written during this period. This article analyzes Liang Zongdai's sonnets and his poetic theories, and discusses how they support and correspond with each other. The article consists of three parts. First, we point out that, by using the name ＂sonnets,＂ Liang Zongdai had the clear intention to inherit the tradition and its symbolic meaning in the history of the sonnet. Second, we observe how Liang Zongdai responded to the difficulties that Chinese new poetry encountered, with theories on poetic form and the practice of writing sonnets. Last, we discuss how post-symbolism theories caused poetic effects and conflicts in writing poetry. Through these discussions, we find that Liang Zongdai's symbolism theories were strongly influenced by Paul Valéry. The alignment of the ＂Six Sonnets＂ with symbolism theories demonstrates Liang Zongdai's desire for purity and pursuit of classicism. From the perspective of the history of poetry, Liang Zongdai renewed the relationship between the sonnet and symbolism, with some limitations.