节奏的理论及实践覃子豪大陆时期的诗论及诗作-南亚技术学院.PDFVIP

南亞學報第二十六期 節奏的理論及實踐 ──覃子豪大陸時期的詩論及詩作 節奏的理論及實踐 ──覃子豪大陸時期的詩論及詩作 林秋芳 南亞技術學院通識教育中心講師 摘要 覃子豪對於節奏的論述 、作品的實踐 ，來臺前和來臺後有部分的承續和轉變。 最早期的作品有格律詩的風格 ，節奏的表現兼具視覺的勻整和聽覺的和諧 ；抗戰 期間的作品則傾向實用 ，強調詩必須講求節奏而非韻律 ，如此才能夠朗誦 ，以服 務於政治；來臺後雖然依舊貶斥韻律、肯定節奏 ，但已不再強調詩的朗誦的功能 ， 轉而探尋節奏產生的內在情緒 、呼吸動脈 。由此 ，明顯可看出節奏在覃子豪的詩 論及創作中 ，連續又斷裂的要義 。 關鍵詞 ：覃子豪 、節奏 、新詩 E-mail:rb@nanya.edu.tw TEL:4361070-7404 - 339 - 南亞學報第二十六期 節奏的理論及實踐 ──覃子豪大陸時期的詩論及詩作 Theory and Practice of Rhythm: Study of Chin Tzu-Hao’s Poetry and Theory in Mainland Period Lin Chiu Fang Abstract To the argumentation of the rhythm and the fulfillment of the works, Chin Tzu-Hao had the part to inherit and change before coming to Taiwan and after coming to Taiwan. The work that he expected at the earliest stage contained the style of metrical poems. On the performance of the rhythm, his work had the integrity of the sense of vision, and the diapason of the sense of hearing. During the period of war against Japan, his work inclined to practical. He emphasized that the poem must stress the rhythm, not metre. Such, the poem then could read aloud enough, and serve in the politics. After coming to Taiwan, he still denounced the metre, and affirmed the rhythm. He had already no longer emphasized that the poem read aloud, but inside motion and the breath pulsations that inquired into the rhythm. Therefore, in the poem theory and creations of Chin Tzu-Hao, the meaning that rhythm had consecution and splits obviously. Key words: Chin Tzu-Hao, rhythm,Chinese new poetry - 34