孙毓棠先生创作于上世纪三十年代、接近八百行的长诗力作《宝马》，在中国文学史上自有其不能磨灭的意义。《宝马》一度被文学史研究者冷落，但它在发表之初已引起过颇热烈的讨论，七八十年代以来，评述渐多，对于这部被誉为“给中国史诗塑了雏型”的作品，在时代意义、思想内涵和艺术风格方面的理解自也越趋全面、深入，然而，《宝马》匀整而灵动、雄浑而舒卷的诗体，及其在节奏形式上跨行、句法、收束、语调的特色，却鲜见针对性的总体分析。这些特点不仅与《宝马》这幅壮阔苍凉的画卷的艺术成就血肉相连，从中也折射出作者的探索经验，并最终指向中国新诗在格律化与散文化、自由化的矛盾中曲折发展的历史轨迹。%Baoma(The Precious Horse), a powerful poem close to 800 lines, written by Mr Sun Yutang in the 1930s, is of an indelible significance in literary history. Hotly debated when first published but ignored by literary scholars for some time, Baoma drew more and more commentaries in the 1970s and 1980s as the interpretation of this work, praised as an“embryo of Chinese epic”, grew more comprehensive and deeper in its time significance, thought content and artistic style. Still, there is a lack of total targeted analysis of its rolling poetic style that is even, alert and vigorous and of its rhythmic forms of line crossing, syntax, pulling together and cadence as these characteristics are physically connected to the artistic achievements of the vast and bleak picture that is Baoma, reflecting the poet’s own exploratory experience and finally pointing towards the historical traces of tortuous development of Chinese new poetry in the contradictions between its classical composition, its prosification and its liberalization.
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