寻找东方缪斯 (Looking for Muse in East)

20世纪七八十年代以来，新诗语言趋向内在真实与内在张力的加大，标举诗人个体自由精神的凸现与诗的感觉、情绪节奏、隐喻结构即内形式的宽度或强度。这是我在八九十年代之交的研究重点。 新诗语言问题，突出表现在外形式（词语、音节、韵律、建行、体式等）方面，对汉语诗性特征的背离，其根由在长期以来因袭的新诗意识。本书侧重对新诗意识进行反思，重新认识新诗，旨在高扬诗歌创作实践和理论批评中追认母语的现代探索精神，唤醒汉语诗性智慧。新诗的现代汉语言艺术的成熟，诚然有赖于诗人创作文本的出现，然而，创作实践离不开理论的呼唤，离不开汉语诗歌精神的激励。理论容易束缚诗人创作的自由，却也有使诗人获取新的自由活力的可能。诗，属于既勇于走险又善于平衡的诗人。 (Since 1970s and 1980s, language of new-style poem heads for enhancement of reality and inherent tension as well as highlight of individual freedom spirit of poets and poem feeling, emotional rhythm and metaphor structure, namely width or power of inner form; this is the research focus at the turning of 1980s and 1990s; the problem of language of new-style poem is reflected in terms of exterior form (words & expressions, syllables, rhythm, line formation and form of characters or letters), which deviates from Chinese poetic features; the fundamental reason is traditional consciousness of new poetry for a long time; this book places extra emphasis on rethinking of consciousness of new poetry and recognition of new poetry, which aims to advocate modern exploration spirit for mother language in poetry creation practice and theoretical criticism so as to wake up the Chinese poetic wisdom; the maturing of modern Chinese art of new poetry truly depends on the appearance of creation texts by poets; however, theory and encouragement by spirit of Chinese poetry are indispensable to creative practice; theory can easily constraint the freedom of creation by poets; however, it also enables poets to attain new free vitality; poems belong to poets who dare trying risks and is good at balancing.)