新批评(New.doc

新批評（New Criticism）新批評是二、三0年代形成於英美的文學批評流派，五0年代成為美國文學批評的主流。反對把文學當成文獻、傳記、史料，注重文學本身的價值。認為文學不同於科學，不是實用性的。新批評強調文學內緣的研究（意象、格律、文體），主張細讀（close reading）。新批評常用的術語：歧義（ambiguity，含混、模稜、多義）、反諷（irory）、矛盾語法（language of paradox）張力（tension），肌理（texture、紋理，質地）無我（impersonality），客觀相應物（objective correlative）。敘事觀點、敘事語氣為小說討論的重點。提出敘事者不等於作者。詩及小說的批評重視文字、意象、結構、肌理、語氣。強調作品必須包含各種複雜而互相矛盾的因素，只有這樣才能“掌握人類經驗範圍的各面”。反對詩作為宣傳，反對大眾語言（mass language）。新批評三0年代興起，至五、六0年代英美學術界影響仍然很大。但也有視野較闊的批評家，如特里林（Leonard Trilling）和威爾森（Edmund Wilson）等人對他們提出批評。在中國方面，四0年代的袁可嘉，五、六0年代香港的葉維廉、李英豪、王敬羲，美國的夏志清，台灣的歐陽子、顏元叔，八0年代的黃維樑，都受新批評的影響。林以亮編選的美國文學批評選（1961）有艾略特、布魯克斯、泰德等論文。這種批評方法，在反對載道或泛政治的批評方面有其意義，產生於特殊的歷史斷層的處境有其必然性，對文章細讀有幫助，個別評論家有進一步發展（袁可嘉、夏志清、葉維廉），亦各有盲點，如顏元叔談古詩，黃維樑談新詩，弊端特別顯著。新批評 (New Criticism) 的起源休姆（T.E. Hulme）：古典主義與浪漫主義；意象派詩 Imagism 龐德（Ezra Pound）詩 “In a Station of the Metro”在地鐵車站(1914)：The apparition of these faces in the crowd: Petals on a wet, black bough.受俳句(Haiku)影響、受中國詩影響。原詩36行，六月後删成一半，一年後删剩兩行。龐德曾自述創作經驗。荒木田守武(1473-1549)俳句：落花飛返枝頭：一隻蝴蝶。英人張伯倫Basil Hall Chamberlain, Japanese Poetry (London, 1910)所譯：Fallen flower returning to the branch;Behold! It is a butterfly.Ezra Pound 的改寫：The fallen blossom flies back to its branch:A butterfly”The footsteps of the cat upon the snow:(are like) plum blossoms.1914年意象派選集(Des Imagistes: An Anthology)中龐德有六首詩，其中四首取材自中國古典詩的改作；如劉徹( Liu Chu)改寫自漢武帝：羅袂兮無聲玉墀兮塵生虛房冷而寂寞落葉依于重扃望彼美之女兮安得感余心之未寧。Giles translation:The sound of rustling silk is stilled,No footfalls echo on the floor,Fallen leaves in heaps block up the doorFor she, my pride, my lovely one is lostAnd I am left, in hopeless anguish tossed.Pound 改寫的版本如後：The rustling of the silk is discontinued,Dust drifts over the courtyard,There is no sound of footfall, and the leavesScurry into heaps and lie still,And she the rejoicer of the heart is beneath them:A wet leaf that clings to the threshold. (Pounds version in free verse自由體; Giles 双行押韻)Ernst Fenollosa s “The Chinese Written Character as A Medium for Poetry” 1919年刊於英國小評論(Little Review)中國文字作為象形結構：具體、接近自然、圖畫性、以具象表達抽象言談、男、東、春、日、明、見Imagism was a movement in early 20th-century Anglo-American poetry that favored precision of imagery, and clear, sharp language. The Imagists rejected the sentiment and discursiveness typical of much Romantic and Victorian poetry. This was in contrast to their contemporaries, the Georgian poets, who were by and large content to work within that tradition. Group publication of work under the Imagist name appearing between 1914 and 1917 featured writing by many of the most significant figures in modernist poetry in English, as well as a number of other Modernist figures prominent in fields other than poetry.Based in London, the Imagists were drawn from Great Britain, Ireland and the United States. Somewhat unusually for the time, the Imagists featured a number of women writers among their major figures. Imagism is also significant historically as the first organised Modernist English language literary movement or group. In the words of T. S. Eliot: The point de repre usually and conveniently taken as the starting-point of modern poetry is the group denominated imagists in London about 1910.1 At the time Imagism emerged, Longfellow and Tennyson were considered the paragons of poetry, and the public valued the sometimes moralising tone of their writings. In contrast, Imagism called for a return to what were seen as more Classical values, such as directness of presentation and economy of language, as well as a willingness to experiment with non-traditional verse forms. The focus on the thing as thing (an attempt at isolating a single image to reveal its essence) also mirrors contemporary developments in avant-garde art, especially Cubism. Although Imagism isolates objects through the use of what Ezra Pound called luminous details, Pounds Ideogrammic Method of juxtaposing concrete instances to express an abstraction is similar to Cubisms manner of synthesizing multiple perspectives into a single image.The March issue of Poetry also contained Pounds A Few Donts by an Imagiste and Flints Imagisme. The latter contained this succinct statement of the groups position:1. Direct treatment of the thing, whether subjective or objective. 2. To use absolutely no word that does not contribute to the presentation. 3. As regarding rhythm: to compose in sequence of the musical phrase, not in sequence of the metronome.12 Pounds note opened with a definition of an image as that which presents an intellectual and emotional complex in an instant of time. (龐德的意象指在一剎那間呈現知性與感性的複合體)Pound goes on to state that It is better to present one Image in a lifetime than to produce voluminous works.13 His list of donts reinforced Flints three statements, while warning that they should not be considered as dogma but as the result of long contemplation. Taken together, these two texts comprised the Imagist programme for a return to what they saw as the best poetic practice of the past.胡適：八不：須言之有物，不摹倣古人、須講求文法、不作無病之呻吟、務力去爛調套語、不用典、不講對仗、不避俗字俗語艾略特（T.S. Eliot）：聖林，艾略特有謂詩不是感情的宣洩，而是感情的逃避，不是表現個性，而是個性的逃避，故有無我（Impersonality）之說，提議用客觀相應物 （objective correlative）來寫詩。T.S. Eliot(18881965).Prufrock and Other Observations.1917. Morning at the WindowTHEY are rattling breakfast plates in basement kitchens,And along the trampled edges of the streetI am aware of the damp souls of housemaidsSprouting despondently at area gates.The brown waves of fog toss up to me5Twisted faces from the bottom of the street,And tear from a passer-by with muddy skirtsAn aimless smile that hovers in the airAnd vanishes along the level of the roofs.T.S.艾略特:窗前晨景地下室餐厅里早点盘子咯咯响，顺着人们走过的街道两旁，我感到女佣们潮湿的灵魂在大门口绝望地发芽。一阵黄色的雾向我掷来街后面人们的歪脸，从穿着溅满污泥的裙子的过路人那里撕下来一个空洞的微笑，它在空中飘荡，朝屋顶那条水平线消失了。艾略特像呂恰慈（I.A.Richards）：文學批評原理(Principles of Literary Criticism)科學與詩科學語言是實指的 (referential)，詩語言是感情性的 (emotive)；科學是與現實對應；詩是激發想像。科學的陳述是真實的陳述，詩是擬陳述 (pseudo-statement)。科學檢驗的是外在的真實，文學強調內在的必然性。實用批評修辭哲學美國的新批評蘭森（John Crowe Ransom）：詩的本體論（Poetry, A Note on Ontology），新批評（The New Criticism）談結構（Structure）肌理（Texture質地、紋理）， 本體(Ontology)指詩歌存在的現實。詩應該是不能撮要複述的，不能用散文解說。阿倫泰特（Allen Tate）：詩的張力（Tension in Poetry）反對mass language，反對詩作為宣傳。詩是外延(extension)與內涵(intension)的有機整體。是指涉(denotation)與意涵(Connotation，含蓄的意義)的結合。布魯克斯（Cleanth Brooks）：怎樣讀詩（Understanding Poetry）； 精雕的甕(The Well-Wrought Urn) 。布魯克斯談矛盾語法(language of Paradox)，重視詩的戲劇性。羅伯特（Robert Penn Warren）燕卜蓀（William Empson）：七種歧義(Seven Types of Ambiguity)。意義的含混有許多理由，不是壞事。新批評（New Criticism）又稱為文本批評（Textual Criticism），下述諸位評論家寫作文論史及課本，影響很大：韋力克與華倫，Ren Wellek & Austin Warren：文學理論(Theory of Literature)：把傳記、歷史、社會、心理或哲學研究文學的方法，稱為外在方法(extrinsic)；把音韻、格律、文體、意義等因素討論稱為內在研究的方法(intrinsic)。溫姆薩特與布魯克斯William K. Wimsatt, Jr & Cleanth Brook，文論簡史Literary Criticism, a Short History文類(genre)觀念：Dramatic, heroic, satiric, lyric。W.K. Wimsatt and M.C. Beardsley：意圖謬誤(intentional fallacy：托爾斯泰) 感受謬誤 (affective fallacy) 袁可嘉的評論袁可嘉袁可嘉反駮某些文學上的誤解，其中一點是感情氾濫等如詩迷信一：對於激情的熱衷，深信詩是熱情產物，而不看情緒的質與量、情縮的前因後果 在詩裡或藝術的領域裡尤其要鑒別人的情緒與藝術情緒的區分；人的情緒是詩篇的經歷材料，藝術情緒則是作品完成後的所呈現是現的情緒模式。許多人不假思索地相信讀者所接受的情緒激動正是一模一樣原作者情緒經驗的翻版，因此極容易迷信詩即情緒，把感情全盤出即足以成詩，其實並不如此 (p.61)其他的迷信：詩即真理、詩即科學、詩即歷史、詩即宗教。詩與真理、與科學、與歷史、與宗教無關係？不，但各司其責。袁可嘉介紹西方新批評的主要觀點：普圖 (F. A. Pottle)以 “感覺到的信仰” (felt belief)觀點去反駮毫無保留的接受信仰。艾略特 (T. S. Eliot)強調信仰該從實質而成熟的經驗出發，反對過份著重抽象概念。肯尼布克 (Kenneth Burke)認為詩是一種象徵性的行動布拉莫 (R. P. Blackmur) 認為語言作為一種姿勢(language as a gesture)布魯克斯 (Cleanth Brooks) 談及矛盾語法(language of Paradox)呂恰慈 (I. A. Richards)提出包容(inclusive)的詩與排斥(exclusive) 的詩， 認為詩是相反的慾望的結合(unification of opposite impulse)。袁可嘉借新批評的概念來反駮當時詩壇的兩種主要傾向濫情與說教。無論詩的題材是愛或是政治，袁可嘉認為其中共同的錯誤是，它們對感情有盲目的信仰，認為只有“開動”感情，詩就會源源不絕從筆下湧流到紙上去了。袁可嘉認為這是詩的迷信的態度，亦包括盲目堅持詩是一種信仰，可以直接引發行動。呂恰慈I.A. Richard : Principles of Literary Criticism艾略特(TS. Eliot)：傳統與個人才能 Tradition and Individual Talents穆旦詩全集詩八首之2水流山石間沉澱下你我，而我們成長，在死底子宮裡。在無數的可能裡一個變形的生命永遠不能完成他自己。我和你談話，相信你，愛你，這時候就聽見我底主暗笑，不斷地他添來另外的你我使我們豐富而且危險。在他倡議新詩現代化的文章裡，其中一個重要的詞彙是“詩的戲劇化”, 50 目的是把理智和感情轉化成詩的經驗。51 他所批判的兩種聲音，濫情的與說教的，正是由於缺乏這種過程而引起的。關於詩的戲劇化，袁可嘉提出艾略特所說的客觀相應物(objective correlative)。他提倡詩劇或內在戲劇，結合內在感覺和週圍環境，如里爾克的詩。 另一個方法是外在戲劇。他引奧登的”小說家“作例子，討論奧登外在戲劇的手法。客觀相應物還可參考艾略特的普魯佛洛克的情詩：T.S.Eliot：“The Love Song of J. Alfred Prufrock”：Let us go then, you and I,When the evening is spread out against the skyLike a patient etherized upon a table;Let us go, through certain half-deserted streets,The muttering retreatsOf restless nights in one-night cheap hotelsAnd sawdust restaurants with oyster shells:Streets that follow like a tedious argumentOf insidious intentTo lead you to an overwhelming questionOh, do not ask, “What is it?”Let us go and make our visit.以與思想感覺相當的具體事物來代替貌似坦白而實圖掩飾的直接說明(p16)客觀聯繫物係想表達一種詩思詩情，你只須避免直接敘述或說明。(P.131)袁可嘉談詩的戲劇性通過心理的了解把詩作的對象搬上紙面，利用詩人的機智、聰明及運用文字的特殊把他們寫得栩栩如生，而詩人對處理對象的同情、厭惡、仇恨、諷刺都只從語氣及比喻得着部份表現，而從不坦然裸露(p.26)。特別推祟奧登的洞察力，廣泛多元的題材，他的溫煦與機智。一、機智(wit)二、似是而非(paradox) 包含矛盾事實，豐富三、sense of irony 反諷、正言若反四、辯証 dialectic 此中有彼 (不是簡化對立)五、抽象觀念必須經過感覺才得着應有詩的表現，否則只是材料(p.26)六、詩與意義 (不可撮要paraphrase)他用命在遠離文化中心的場所他用命在遠離文化中心的場所：被他的將軍和他的虱子所拋棄，他給撩上了一條被，闔上了眼皮，從此消失了。他不再被人提說，盡管這一場戰爭編成了書卷：他沒有從頭腦丟失了緊要的知識；他開的玩笑是陳舊的；他沉悶，像戰時；他的名字跟他的面貌都永遠消散。他不知也不曾自選“善”，卻教了大家，給我們增加了意義如一個逗點：他變泥在中國，為了叫我們的女娃好熱愛大地而不再被委諸狗群；無端受盡了凌辱；為了叫有山，有水，有房子地方也可以有人。Far from a cultural centre he was used:Abandoned by his general and his lice,Under a padded quilt he turned to iceAnd vanished. He will never be perusedWhen this campaign is tided into books:No vital knowledge perished in that skull;His jokes were stale; like wartime, he was dull;His name is lost for ever like his looks.Though runeless, to instructions from headquartersHe added meaning like a comma whenHe joined the dust of China, that our daughtersMight keep their upright carriage, not again Be shamed before the dogs, that, where are waters,Mountains and houses, may be also men.袁可嘉在中國四O年代對新批評的借用與調整人的文學與人民的文學上海不問多少人預言它的陸沉，說它每年都要下陷幾寸，新的建築仍如魔掌般上伸， 攫取屬於地面的陽光、水分而撒落魔影。貪婪在高空進行；一場絕望的戰爭扯嚮了電話鈴，陳列窗的數字如一串錯亂的神經，散佈地區面的是飢饉群真空的眼睛。到處是不平。日子可過得輕盈，從辦公房到酒吧間鋪一條單軌線，人們花十小時賺錢，花十小時荒淫。紳士們捧著大肚子走進寫字間，迎面是打字小姐紅色的呵欠，拿張報，遮住臉：等待南京的謠言。1948年7月 (原載中國新持詩第2集)南京一夢三十年，醒來到處是敵視的眼睛， 手忙腳亂裡忘了自己是真正的仇敵，漫天飛舞是大潮前紅色的蜻蜓，怪來怪去怪別人：第三期的自卑結。總以為手中握着一支高壓線，一己的喜怒便足以控制人間，討你喜歡，四面八方都負責欺騙，不騙你的便被你當作反動、叛變。官民滿街走，開會領薪俸，亂在自己，戡向人家，手持德律風，向叛逆的四方發出訓令：四大皆空。糊塗虫看着你覺得心疼，精神病學家斷定你發了瘋，華盛頓摸摸錢袋：好個無底洞!1948年7月 原載中國新持詩第2集夏志清的評論中國現代小說史的論爭：普實克指出小說史對社會問題考慮不充份，缺乏對過去文學的聯繫、對社會問題考慮不充份、對抗戰文學缺乏了解（大陸新版補回端木蕻良及蕭紅的討論）。印象派批評：對錢鍾書的推崇人的文學：對顏元叔的批評對魯迅的評論：對作者與敘事的混淆、批評阿Q正傳結構、對肥皂稱譽，比較魯迅與海明威、喬哀思。對張愛玲的評論：集中在茉莉香片、金鎖記、秧歌，最先在文學史肯定張的地位。五、六O年代的文學史寫作：除國內王瑤、尚有香港李輝英、曹聚仁、司馬長風、劉以鬯諸人努力。C.T. Hsia, A History of Modern Chinese Fiction, with an introduction by David Der-wei Wang, Bloomington, Indiana University Press, 1999 (3rd ed).夏志清著，劉紹銘等譯：中國現代小說史，香港：中文大學出版社，2001年。Jaroslav Prsk, “Basic Problems of the History of Modern Chinese Literature and C. T. Hsia, A History of Modern Chinese Fiction.” In The Lyrical and the Epic: Studies in Chinese Modern Literature. Bloomington: Indiana University Press, 1980, pp. 195-230.雅羅斯拉夫普實克著，齊心譯：中國現代文學史的根本問題，普實克中國現代文學論文集，長沙：湖南文藝出版社，1987年。（原載通報第49期（1962年），頁357-404）。C.T. Hsia, “On the Scientific Study of Modern Chinese Literature A Reply to Professor Prsk.” In Jaroslav Prusek, The Lyical and the