格律的舞蹈，艺术的化境 ― 论郑敏的十四行组诗≪诗人与死≫

Abstract

“The sonnets”, a type of poetry from the West, has more than a century of historical and cutting-edge history. Starting from Feng Zhi in the 1940s, he has experienced certain developments in the transplantation and exploration of poets such as Sun Dayu, Liang Zongxi, Wen Yiduo, Bian Zhilin, Zhu Xiang, and Tu An. Feng Zhi's Sixteenth Collection (1942) is a classic of the Chinese sonnets. As a student of Feng Zhi, Zheng Min, who graduated from the Southwest Associated University in the early 1940s, was influenced by his mentor and began to try to write in fourteen books. However, early sonnets such as Lotus and Beast were not mature. The subsequent Poet and Death (1991) wrote lamentations in the form of poems, and both the poems and the poetry became more mature. From the point of view of the fourteen lines of rhythm, this article conducts an in-depth study of Zheng Min, a poet of contemporary Nine-Leaf school poetry, Poet and Death. The characteristics and innovations of this poem are analyzed from the aspects of paragraph, rhyme, inter-passage, number, and composition. Poet and Death plays an important role in the development of Chinese sonnets. It inherits the excellent metrical traditions of Chinese classical poetry and expresses the real life, life history and life tragedies of modern Chinese intellectuals, regardless of their content. In terms of artistic techniques, it provides valuable explorations and inspirations for the development of contemporary Chinese sonnets, and helps to correct the abuses of current Chinese poetry that are too scattered, colloquial, and vulgar. The success of Poet and Death is inseparable from the familiarity of western culture with Zheng Min, and once again returning to Chinese traditional poetics, its implications for contemporary Chinese poetry. China’s sonnets still have a lot of room for development. Poets should make full use of and constantly improve this poetry, and use them to express the modern Chinese’s thoughts and feelings, historical experience, and real life, so that Chinese sonnets really do To the perfect fit of form and content.