CAJ | 학술논문

中国现代诗人冯乃超的早期诗歌创作深受法国象征主义的影响,尤其是接受了魏尔伦提倡诗歌音乐性的主张。他的诗从诗歌的流动美,抛弃词语意义的朦胧美,主旋律与回旋韵的使用及诗歌中音与色的和谐交契四个方面与魏尔伦诗歌的音乐性有相似之处。冯乃超的诗在这一意义上表现出了中国新诗由摆脱旧体诗束缚的背弃,走向寻找传统与外来移植的契合点这一变化的倾向,在吸取传统与＂拿来＂之间寻求了平衡。
중국현대시인풍내초적조기시가창작심수법국상정주의적영향,우기시접수료위이륜제창시가음악성적주장。타적시종시가적류동미,포기사어의의적몽롱미,주선률여회선운적사용급시가중음여색적화해교계사개방면여위이륜시가적음악성유상사지처。풍내초적시재저일의의상표현출료중국신시유파탈구체시속박적배기,주향심조전통여외래이식적계합점저일변화적경향,재흡취전통여＂나래＂지간심구료평형。
Feng Naichao, a modem Chinese poet, was deeply influenced by French Symbolism in his early poetry and accepted Paul Verlaine＇ s idea about poetic musicality. In the flowability of meaning and the lomography of abandoned signified and in using main melody and convolved rhythm and the harmonious sound and color, Feng Naichao＇ s poetry has similarities with Paul Verlaine＇ s. In this sense, Feng Naiehao＇ poems display the trend that the new-styled Chinese poems begin to get rid of the fetters of classic-styled poems and move toward finding harmony between tradition and foreign styles, pursuing balance of all the above.