延安講話：新中國的詩歌緊箍咒

Talks at Yen-An: The Tighten Mantra of New China's Poetry

陳大為(Chan Tah Wei)

《中國現代文學》 34期 (2018/12) Pp. 187-212

摘要

1949年中共建政前夕，周揚宣佈以〈在延安文藝座談會上的講話〉作為舉國奉行的唯一正確的文藝方向，強力主導了十七年時期的文學創作，中國詩歌陷入非常嚴重的空洞化、樣板化危機。以賀敬之、郭小川、田間為代表的延安詩人群雖然因此獲利，但他們身不由己的成為「頌歌」的生產者，為祖國的建設「放聲歌唱」，對其詩歌寫作造成無可挽救的硬傷；另一支西南聯大出身的現代主義詩人，則被迫中止或改造自己的寫作，成為十七年時期詩歌的劫後廢墟，穆旦、杜運燮、馮至都是受害者。本文深入詩史的脈絡，同時對照延安和昆明的政治、歷史情境，用不同角度來呈現〈講話〉作為無上指導原則，如何在腦海中形成一道緊箍咒，讓詩人自我檢查，自宮原有的詩歌技藝與才華，徹底傷害「延安種籽」和「聯大種籽」的詩歌寫作。

關鍵字

延安講話 ； 西南聯大 ； 詩歌史 ； 頌歌

並列摘要

In 1949, just before establishment of CPC, Zhou Yang announced that literature and art must base on ＂Talks at the Yen-An Forum on Literature and Art＂. This absolute direction of the seventeen years made poetry of China fell into hollowed and templated crisis. Under such principle, those poets who originated from Yen-an such as He Jin-zi, Kuo Siaw-juan, Tian Jian obtained great advantages, while they involuntarily became producers of canticle, singing on the top of their voices for motherland and thus deeply hurt their writing. During the same period, the other group of modernism poets who came from National Southwest Associated University, were forced to stop or transform their writing. Thus, these modernism poets turned into apocalypse of the seventeen years. Mu Tan, Tu Yun-xie and Fung Ji were those who sacrificed under such ideology. This article deep explores the context of history of poets, making a political and historical comparison of Yen-an and Kun Ming. Secondly, it discusses the supreme guiding principle of Talks at the Yen-an Forum on Literature and Art from difference aspects. This principle has formed a tightening spell and thereby damaged ＂seeds of Yen-an＂ and ＂seeds of Lian-ta＂.

並列關鍵字

Talks at the Yen-an Forum on Literature and Art ； National Southwest Associated University ； history of poetry ； Canticle

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