詩歌閱讀的“五覺”李永毅2009.10“五覺”概覽形覺（詩歌的空間特征）聲覺（詩歌的時間特征）觸覺（詩歌的結(jié)構(gòu)特征）情覺（詩歌的經(jīng)驗特征）智覺（詩歌的知性特征）詩歌閱讀的一些誤區(qū)（1）倫理誤區(qū)：道德潔癖

Itisacontradictiontoattemptasinlessliteratureofsinfulman.--CardinalNewman

It[thepoeticalcharacter]hasasmuchdelightinconceivinganIagoasanImogen.Whatshocksthevirtuousphilosop[h]er,delightsthecamelionPoet.Itdoesnoharmfromitsrelishofthedarksideofthingsanymorethanfromthebrightone;becausebothendinspeculation.--JohnKeats

（2）闡釋誤區(qū)：終極答案“Mancanembodytruthbuthecannotknowit.”--WilliamButlerYeats“Apoemdoesnotmean,butbe.”--ArchibaldMacleish（3）心理誤區(qū)：透明情結(jié)閱讀詩歌與閱讀專業(yè)物理書籍一樣需要訓(xùn)練和相關(guān)的知識儲備：文學(xué)傳統(tǒng)（格律、語匯、主題、程式、手法）；文學(xué)理論（特定時期文學(xué)看待世界的方式）；作家的生活經(jīng)歷、思想框架和文學(xué)理念；特定時期的整體精神氛圍；個人對人生和世界的體悟；閱讀所訓(xùn)練出來的對文字的敏感；簡單的個案InaStationoftheMetroTheapparitionofthesefacesinthecrowd;Petalsonawet,blackbough.ThreeyearsagoinParis,Igotoutofa‘metro’trainatLaConcorde,andsawsuddenlyabeautifulface,andthenanotherandanother,andthenabeautifulchild'sface,andthenanotherbeautifulwoman,andItriedallthatdaytofindwordsforwhatthishadmeanttome,andIcouldnotfindanywordsthatseemedtomeworthy,oraslovelyasthatsuddenemotion....Iwrotea30-linepoemanddestroyedit…SixmonthslaterImadeapoemhalfthatlength;ayearlaterImadethefollowinghokku-likesentence.如何理解這首詩？歷史的定位：熟悉龐德所反叛的維多利亞文學(xué)傳統(tǒng)（倫理說教的文學(xué)價值觀；“軟”的表達(dá)方式；平庸保守的中產(chǎn)階級讀者）。詩人的主張：意象主義（directtreatmentofthething）；superimposition；grammaroftheunconscious。與東方詩歌的關(guān)聯(lián)：娉娉裊裊十三余，豆蔻梢頭二月初。與西方詩歌的關(guān)聯(lián)：Homer,Virgil,Dante,Milton一形覺

詩是一種空間藝術(shù)（外形：字形、行形、空白、空行、標(biāo)點、整體空間排列；視覺意象：構(gòu)圖、設(shè)色、動靜、特寫）《文心雕龍·練字》：“一避詭異，二省聯(lián)邊，三權(quán)重出，四調(diào)單復(fù)”“瘠字累句，則纖而行劣；肥字積文，則黯而篇暗；善酌字者，參伍單復(fù)，磊落如珠矣?！敝x榛《四溟詩話》：“律詩雖宜顏色，兩聯(lián)貴乎一濃一淡。若兩聯(lián)濃，前後四句淡，則可；若前後四句濃，中間兩聯(lián)淡，則不可。亦有八句皆濃者，唐四杰有之；八句皆淡者，孟浩然韋應(yīng)物有之。非筆力純粹，必有偏枯之病?！毙谴蛊揭伴?，月涌大江流。

滄海月明珠有淚，藍(lán)田日暖玉生煙。

同心而離居，憂傷以終老。

Dickinson(1)

PresentimentisthatlongShadow—ontheLawn—IndicativethatSunsgodown—TheNoticetothestartledGrassThatDarknessisabouttopass—Dickinson(2)

SoWemustmeetapart—Youthere—I—here—WithjusttheDoorajarThatOceansare—andPrayer—AndthatWhiteSustenance—Despair—GuillaumeApollinaire

我影被倒活像生就生得地實封真吉堯姆在啊這不面使阿波利奈爾鏡天子的里像真想實們得人就像大漠孤煙直，長河落日圓。紅樓隔雨相望冷，珠箔飄燈獨自歸。人面不知何所去，桃花依舊笑春風(fēng)。山從人面起，雲(yún)傍馬頭生。長安回望綉成堆——全景、靜景；山頂千門次第開——鏡頭由遠(yuǎn)及近、動景；一騎紅塵妃子笑——遠(yuǎn)近結(jié)合、慢鏡頭特寫；無人知是荔枝來——鏡頭拉近、特寫二聲覺

詩是一種時間藝術(shù)（聲音在時間中的流動、回旋、重現(xiàn)與變奏），需要關(guān)心聲音元素、押韻（含半韻）、節(jié)奏等因素。1擬聲覺對語言從聲音角度模仿表現(xiàn)內(nèi)容的敏感。AlexanderPope

EssayonCriticism

Trueeaseinwritingcomesfromart,notchance,

Asthosemoveeasiestwhohavelearnedtodance.

'Tisnotenoughnoharshnessgivesoffense,

Thesoundmustseemanechotothesense:

SoftisthestrainwhenZephyrgentlyblows,

Andthesmoothstreaminsmoothernumbersflows;

Butwhenloudsurgeslashthesoundingshore,

Thehoarse,roughverseshouldlikethetorrentroar;

WhenAjaxstrivessomerock'svastweighttothrow,

Thelinetoolabors,andthewordsmoveslow;

Notso,whenswiftCamillascourstheplain,

Flieso'ertheunbendingcorn,andskimsalongthemain.

卞之琳《大車》

拖著一大車夕陽的黃金，

騾子搖擺著踉蹌的腳步，

穿過無數(shù)的疏落的荒林，

無聲的揚起一大陣黃土，

叫坐在遠(yuǎn)處的閑人夢想

古代傳下來的神話里的英雄

騰云駕霧去不可知的遠(yuǎn)方──

古木間涌出了浩嘆的長風(fēng)！

2格律覺長短律（古希臘羅馬詩歌）輕重律（文藝復(fù)興以來西方詩歌）平仄律（中國近體詩、詞、曲）音拍律（日本俳句、短歌）變體律（使用半韻、調(diào)整節(jié)奏、調(diào)整韻式）e.e.cumings“nexttoofcoursegodamericailoveyoulandofthepilgrims'andsoforthohsaycanyouseebythedawn'searlymycountry'tisofcenturiescomeandgoandarenomorewhatofitweshouldworryineverylanguageevendeafanddumbthysonsacclaimyourgloriousnamebygorrybyjingobygeebygoshbygumwhytalkofbeautywhatcouldbemorebeaut-ifulthantheseheroichappydeadwhorushedlikelionstotheroaringslaughtertheydidnotstoptothinktheydiedinsteadthenshallthevoiceoflibertybemute?”Hespoke.Anddrankrapidlyaglassofwater格律本身的結(jié)構(gòu)作用律詩桃李春風(fēng)一杯酒，江湖夜雨十年燈。鳥去鳥來山色里，人歌人哭水聲中。香稻啄余鸚鵡粒，碧梧棲老鳳凰枝。Sonnet3音樂覺（流動、內(nèi)在的樂感）Whitman:oratory,opera,seawavesStevens:praisedfortheexquisitemusicofhispoetryFrost:soundofsense(Thebestplacetogettheabstractsoundofsenseisfromvoicesbehindadoorthatcutsoffthewords....ifoneistobeapoethemustlearntogetcadencesbyskillfullybreakingthesoundsofsensewithalltheirirregularityofaccentacrosstheregularbeatofthemeter)三觸覺這是詩歌閱讀由外而內(nèi)的關(guān)鍵，需要大量的閱讀、反復(fù)的訓(xùn)練才能獲得這種感覺能力，觸覺讓我們觸及到詩歌的身體，從肌膚到隱約感覺到的內(nèi)臟。1外觸覺：語言的質(zhì)地相去日已遠(yuǎn)，衣帶日已緩。浮云蔽白日，游子不顧返。思君令人老，歲月忽已晚。棄捐勿復(fù)道，努力加餐飯。擬把疏狂圖一醉。對酒當(dāng)歌，強(qiáng)樂還無味。衣帶漸寬終不悔。為伊消得人憔悴。e.e.cummingsyesisapleasantcountry:If’swintry(mylovely)Let’sopentheyearbothistheveryweather(noteither)mytreasure,whenvioletsappearloveisadeeperseasonthanreason;mysweetone(andapril’swherewe're)1內(nèi)觸覺：語言的結(jié)構(gòu)獨在異鄉(xiāng)為異客，每逢佳節(jié)倍思親。遙知兄弟登高處，遍插茱萸少一人。松下問童子，言師采藥去。只在此山中，云深不知處。慈母手中線，游子身上衣。臨行密密縫，意恐遲遲歸。誰言寸草心。報得三春暉。北島生活網(wǎng)孔孚大漠落日圓寂EmersonMerlinSubtlerhymes,withruinrife,Murmurinthehouseoflife,SungbytheSistersastheyspin;InperfecttimeandmeasuretheyBuildandunbuildourechoingclay.AsthetwotwilightsofthedayFoldusmusic-drunkenin.四情覺詩歌傳達(dá)的是一種人生經(jīng)驗，感受的敏銳、深度和廣度因人而異，但情覺是可以培養(yǎng)的。TomethemeanestflowerthatblowscangiveThoughtsthatdooftenlietoodeepfortears.--WilliamWordsworth我見青山多嫵媚，料青山、見我應(yīng)如是。情與貌，略相似?！翖壖睷ainerMariaRilke

你們難道不覺得驚訝，古希臘墓碑上的人姿勢都那般凝重？難道愛與別離不是如此小心地置于那些肩上，仿佛它們是用另一個世界的材料做成？記得那些手嗎？它們搭在那兒，幾乎沒有重量，雖然軀干蘊(yùn)藏著力。這些克制的形象知道：“我們只能到此為止，只能這樣輕柔地觸碰彼此；神可以更有力地按在我們身上。不過那是神的事?！?/p>

GaiusValeriusCatullusHucestmensdeductatuamea,Lesbia,culpa

Atqueitaseofficioperdiditipsasuo,Utiamnecbenevellequeattibi,sioptimafias,

Necdesistereamare,omniasifacias.因為你的錯，萊斯比婭，我這顆心才沉淪，它毀了自己，卻是由于它對你太忠誠；如今，即使你洗心革面，它也不能珍惜你，即使你墮落到底，它也沒法停止愛你。RobertBlyAsIdrivemyparentshomethroughthesnowtheirfrailtyhesitatesontheedgeofamountainside.Icalloverthecliffonlysnowanswers.Theytalkquietlyofhaulingwaterofeatinganorangeofagrandchild'sphotographleftbehindlastnight.Whentheyopenthedooroftheirhousetheydisappear.Andtheoakwhenitfallsintheforestwhohearsitthroughmilesandmilesofsilence?Theysitsoclosetoeachother-asifpressedtogetherbythesnow.SylviaPlathYoudonotdo,youdonotdoAnymore,blackshoeInwhichIhavelivedlikeafootForthirtyyears,poorandwhite,BarelydaringtobreatheorAchoo.五智覺

幾乎每個詩人的作品背后都有一套哲學(xué)?，F(xiàn)代詩歌的難度在于，這套哲學(xué)不再是公共的，而是私人的。楊鍵

癩蛤蟆哀莫大于心死——孟子多麼緩慢啊