百年来，学界对李金发诗“格物”不薄，“致知”欠厚，其缘由大多是因循行思潮史而惊诧他“怎么写得这般怪”，甚少沉潜于发生学来探询他“为何写得这般怪”。《弃妇》或宜读作李诗“总纲”，从中可提炼出其“象征诗哲方程”，即借鉴法国象征主义来雕塑“魂之殇”，蕴涵“存在主义”哲思。因嗅着李诗所弥散的“墓园气息”，陈建华创作于 1965—1966 年的象征诗稿《红坟草》几被“死亡”主题及意象所覆盖；而通过辨析可知，到 1968 年诗人完成“自我救赎”，其象征诗风大变，其身上李金发之影淡出，而波特莱尔凸显。这条象征主义诗脉或现代主义创作线在海上文坛百年间若隐若现，貌似间断实质绵延——从李金发到陈建华，从二诗人的“心理相通”到发生学角度呈示“学理打通”，百年诗脉传承的隐线得以显影。

李金发, 陈建华, 象征主义, 波特莱尔, 诗歌, 《繁花》

For a hundred years, the academic community has paid a lot of attention to Li Jinfa’s poetry’s “investigation of things” but not enough attention to his “knowledge acquisition”. The reason is mostly due to the trend of thought in history, which has surprised him by saying “how can he write so weirdly”, and rarely delving into the genesis to explore why he wrote so weirdly. The poem Deserted Wife might be better read as a “general outline” of Li Jinfa’s poetry, from which one can extract his “symbolic poetic equation”, which draws on French symbolism to sculpt the “sorrow of the soul” and contains “existentialist” philosophical ideas. Due to the “cemetery atmosphere” that Li Jinfa’s poetry exuded, Chen Jianhua’s symbolic poem Red Grave Grass, which was written in 1965－1966, was almost covered by the theme and imagery of “death”. Upon analysis, it is evident that by 1968, the poet had achieved “self-salvation”, signifying a significant shift in his poetic style. The influence of Li Jinfa gradually diminished, while that of Baudelaire became more prominent. This symbolic poetic vein or modernist creative line has been looming in the literary world for a century, seemingly intermittent but actually continuous. From Li Jinfa to Chen Jianhua, from the “psychological connection” between the two poets to the presentation of “academic connection” from a genetic perspective, the hidden line of the century-old poetic heritage has been revealed.

Li Jinfa, Chen Jianhua, symbolism, Baudelaire, poetry, Blossoms Shanghai