CAJ | 학술논문

“声调”是胡适等人为建设白话新诗而特别关注的一个重点。他们试图用双声叠韵来改善白话诗的音节，认真学习古乐府、词曲和歌谣的声调，甚至提出过填皮簧的设想。总体上看，白话诗人对声调的“试验”并不成功，理论探讨也并未达到相应的深度。值得注意的是，白话新诗声调建设的种种努力虽然有新的文学史观念作为支撑，却更多是从旧诗创作和欣赏习惯出发的，是有意无意向守旧诗界妥协的结果，显示出在因袭势力强大背景下论证白话新诗合法性的一片苦心。到1940年代，朱自清有力论证了新诗适合朗诵而不适合吟唱，指出新诗虽具音乐性而不能音乐化，为白话新诗声调建设及新诗音乐性问题做出了完满的总结。
“성조”시호괄등인위건설백화신시이특별관주적일개중점。타문시도용쌍성첩운래개선백화시적음절，인진학습고악부、사곡화가요적성조，심지제출과전피황적설상。총체상간，백화시인대성조적“시험”병불성공，이론탐토야병미체도상응적심도。치득주의적시，백화신시성조건설적충충노력수연유신적문학사관념작위지탱，각경다시종구시창작화흔상습관출발적，시유의무의향수구시계타협적결과，현시출재인습세력강대배경하론증백화신시합법성적일편고심。도1940년대，주자청유력론증료신시괄합랑송이불괄합음창，지출신시수구음악성이불능음악화，위백화신시성조건설급신시음악성문제주출료완만적총결。
The rhyme and rhythm of vernacular poetry were a major concern for vernacular poets represented by Hu Shi, who strived to explore a new form for poems written in vernacular Chinese. They made great efforts to remove the disharmony of rhyme and rhythm in new poems through using alliteration and assonance, learning from Yuefu 乐府, Ci 词 and Qu曲, and even proposing to write lyrics for folk songs according to Pihuang 皮簧 opera. Overall, their experiments on rhyme and rhythm were not successful, nor were their corresponding theoretical explorations. It should be noted that explorations made to establish rhyme and rhythm for vernacular poetry, though supported by new literary concepts, drew heavily on ancient poetry and its aesthetic taste. It is the result of their intentional or unintentional compromise with classical poetry, presenting their painstaking endeavors to prove the validity of vernacular poetry against the context featured by formidable conservatism. In the 1940s, Zhu Ziqing convincingly argued that it is more appropriate to recite than to sing new poetry despite its musicality. Zhu＇s idea is a perfect summary for the rhythm and musicality of vernacular poetry.