CAJ | 학술논문

蒲龄恩主张诗歌的创新与实验不是去任意破坏语言的自然性质与节奏,而是从中发现新的映像、倾向、渠道以及交错联系,以打开此前尚未发生效用的固有潜能;诗歌创作不应墨守语言常规,也不随意打破常规;实验诗歌的形制,比如分行和诗节划分,因为歧义产生弦外之音乃至晦涩,形成强烈张力,超越读者预期,挑战读者智力。他将语义歧义和诗歌分行分节理论与他对诗歌语言结构的分析相融合,从理论上解决了探寻诗歌音乐性形成的机制性问题。
포령은주장시가적창신여실험불시거임의파배어언적자연성질여절주,이시종중발현신적영상、경향、거도이급교착련계,이타개차전상미발생효용적고유잠능;시가창작불응묵수어언상규,야불수의타파상규;실험시가적형제,비여분행화시절화분,인위기의산생현외지음내지회삽,형성강렬장력,초월독자예기,도전독자지력。타장어의기의화시가분행분절이론여타대시가어언결구적분석상융합,종이론상해결료탐심시가음악성형성적궤제성문제。
Prynne advocates that a poet does not arbitrarily violate the nature and the inherent rhythm of language in the poetic invention and experiment,but discovers the new reflection,new tendency,new channels of expression and new cross-relations of language,so as to dig out its inherent capabilities that have never been used.The composition of a poem should avoid the rigid conformity to linguistic conventions and should get rid of the excessive licence as well.The tension of the verse form usually exists in the line-division and/or stanza division in an experimental poem,where ambiguities enrich the expression and challenge the reader＇s intelligence.Prynne combines these ideas with his analysis of the phonological structure of English so that he theoretically explains the formation of the musicality of a poem.