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</li></ul></div> </div><div id="urg1j081" class="head"> <div id="urg1j081" class="head_logo123"></div> <div id="urg1j081" class="head_logoxx"> <strong><a href="http://www.zuancaijixie.com/ganwuaiqing/" class="lanmu">感悟愛情</a> </strong> <span><a href="http://www.zuancaijixie.com/" target="_blank">蒲公英文摘</a> > <a href="http://www.zuancaijixie.com/ganwuaiqing/">感悟愛情</a> > </span></div> </div>   <div id="urg1j081" class="main"> <div id="urg1j081" class="main_left"> <div id="urg1j081" class="det_title"> <div id="urg1j081" class="det_title_info"><h1>車延高的詩跟車延高談?wù)勗?/h1></div> <p>發(fā)布時(shí)間:<span>2020-03-25</span> 來源: <span><a href="http://www.zuancaijixie.com/ganwuaiqing/" class="lanmu">感悟愛情</a></span> 點(diǎn)擊：<span id="hits"></span> <span><a ><img style="vertical-align: middle; height:16px;" src="/images/wap.jpg" /></a></span></p> </div> <div id="urg1j081" class="det_content" id="zoom"> <p><script type="text/javascript">ok3w_ads("s004");</script></p> <div id="urg1j081" class=ggad><script type="text/javascript">ok3w_ads("s005");</script></div> <p> 　　不是車延高的詩歌感覺不好,他要面臨的是魯迅的命題:政治家與文學(xué)家的歧途。搞政治的人需要維穩(wěn),搞文學(xué)的需要不滿。在今天的社會,要將這兩者結(jié)合起來,大概只能是人格分裂才能做到。 <br/>　　 <br/>　　每年一度的魯迅文學(xué)獎(jiǎng)揭曉,詩歌獎(jiǎng)得主車延高因其幾首詩的淺俗,引起網(wǎng)上一片譏評,稱之為“羊羔體”,一時(shí)間仿作如潮,讓人想起當(dāng)年戲仿“梨花體”帶給網(wǎng)民的快樂。不同的是,這次的桂冠詩人車延高身份特別,乃是堂堂武漢市紀(jì)委書記。在公眾心里,官員與詩歌,從來都是兩個(gè)不能融合的概念,怎么想怎么別扭。據(jù)說,諾貝爾文學(xué)獎(jiǎng)是不授予在任政府官員的,當(dāng)然,這只是據(jù)說而已。套用一句法國諺語:你已經(jīng)有了巨大的權(quán)力,難道還想要一顆不朽的靈魂? <br/>　　中國是個(gè)詩歌的國度。官員寫詩,代有其人,就像車延高說的,唐太宗李世民也寫詩,而且置于《全唐詩》的開篇。但那是因?yàn)樗牡匚?唐太宗的詩絕不是好詩,這是無可置疑的。至于其他的詩人多是官員,也是因?yàn)?古代文人的唯一出路就是仕途,官員而兼詩人,乃是社會常態(tài)。然而,優(yōu)秀的官員詩人也并不多。文學(xué)這東西就是奇怪,雖說孔子也說過“詩可以興,可以觀,可以群,可以怨”,但從古至今,最好的詩似乎都是怨詩,因?yàn)樾腋？偸且挥[無余,而不幸卻是輾轉(zhuǎn)難盡,所以歐陽修才說“詩窮而后工”。在古代,這不僅是理論常談,而且是實(shí)踐套路。對于詩人自己,詩“可以怨”,有著排遣、慰藉的作用;對于讀者,即使是那些優(yōu)秀詩人,他們最好的詩也是寫個(gè)人與社會的痛苦。 <br/>　　這些在車延高的《向往溫暖》里都見不到。這不是說他的詩歌感覺不好,他要面臨的是魯迅的命題:政治家與文學(xué)家的歧途。搞政治的人需要維穩(wěn),搞文學(xué)的需要不滿。在今天的社會,要將這兩者結(jié)合起來,大概只能是人格分裂才能做到。讀車延高的詩,盡管沒有那種毫無遮掩的歌功頌德,但也不會有曹操“白骨露于野,千里無雞鳴”那樣的關(guān)懷,因?yàn)槲覀兘裉焓恰靶曳晔⑹馈薄?<br/>　　車延高的詩看上去似曾相識,這并不是說,他的詩是抄襲,而是說,他的詩和許多寂寂無名的詩人的詩沒有多大區(qū)別。有一些詞語的感覺,但談不上怎么差,也談不上怎么好。這樣的詩,完全可以用電腦軟件寫出來,不需要過心。他的詩可以很容易地摹仿,而且摹仿得很好,也說明了在當(dāng)代,寫詩并不需要嘔心瀝血地勞作、痛徹心靈地感受。 <br/>　　按照車延高的說法,他寫演員的那幾首詩用的是白話手法,力求“零度抒情”,不帶有個(gè)人感情。法國文學(xué)理論家羅蘭?巴特曾發(fā)表過一篇文章《寫作的零度》,車延高的“零度抒情”大概即源于此。羅蘭?巴特提出中性的、非感情化的零度寫作,否定了詩歌的內(nèi)容和個(gè)人性,我個(gè)人并不欣賞。 <br/>　　真正的問題是,車延高的詩沒有“自我”,主體在這里完全被客體化了。所有的主語都不是“我”,而是“我們”。他寫 “荷花”、“青春”、“轉(zhuǎn)經(jīng)筒”、“雪蓮”和“麥子”,但那是代表所有“內(nèi)心溫暖”的人的感覺,用他的話說,是“共同的社會追求”,而不是一個(gè)詩人的獨(dú)特人生體驗(yàn)。當(dāng)年汪國真的“既然選擇了遠(yuǎn)方,就要風(fēng)雨兼程”,也是屬于這種缺乏自我的表達(dá),在光滑的詞語表面輕輕地滑過去。有些憂傷,可那憂傷是寫詩的需要,一種空洞的美。讀者可以是“大眾”,但絕不會是“個(gè)人”。感動(dòng)少男少女猶可,要感動(dòng)一個(gè)有閱歷的人,恐怕難。 <br/>　　對于抒情詩,自我大概是第一要素。一部中國詩歌史,就是從缺乏自我到確立自我�！对娊�(jīng)》里的詩大率是詩人代言群體,尚無“我”的自覺,詩人想象自己的憂傷就是世界的憂傷,所以“昔我往矣,楊柳依依。今我來思,雨雪霏霏”,有一種廣大的悲哀。后世稱漢魏古詩“高古”,也是指這個(gè)感覺。隨著自我的不斷覺醒,后人要想再寫出那種渾然無我的詩來,是不會討好的了。 <br/>　　事實(shí)上,越到現(xiàn)代,詩人的自我感越是強(qiáng)烈,詩歌越是詩人自己的世界,在其中展示自己的發(fā)現(xiàn)。車延高的詩浪漫倒是浪謾,但卻沒有自我。作為一個(gè)詩人,他沒有發(fā)現(xiàn)藏在事物背后的東西。 <br/>　　說了這些,這與車延高的獲獎(jiǎng)沒有關(guān)系。有人說魯迅文學(xué)獎(jiǎng)死了,那是言過其實(shí)。在我們這個(gè)時(shí)代,本來就不應(yīng)當(dāng)將魯迅的名字設(shè)為文學(xué)獎(jiǎng)項(xiàng)。更進(jìn)一步說,文學(xué)根本就不應(yīng)當(dāng)設(shè)獎(jiǎng),詩人濟(jì)慈在一封書信里曾寫道:“英國產(chǎn)生了世界上最好的作家,一個(gè)主要原因是英國社會在他們出世時(shí)虐待了他們�！弊鲆粋€(gè)真正的詩人是要付出代價(jià)的,而社會主流怎么可能去獎(jiǎng)勵(lì)一個(gè)被其虐待的詩人? <br/> </p><p style="margin-bottom:10px"><strong>相關(guān)熱詞搜索：</strong><a href="http://www.zuancaijixie.com/tag/%CC%B8%CC%B8.html" target="_blank">談?wù)?/a> <a href="http://www.zuancaijixie.com/tag/%B3%B5%D1%D3%B8%DF.html" target="_blank">車延高</a> <a href="http://www.zuancaijixie.com/tag/%B8%FA%B3%B5%D1%D3%B8%DF%CC%B8%CC%B8%CA%AB.html" 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