2001．第29卷第1期（Vol. 29 No. 1）．pp. 109–120
新詩格律與粵音朗誦教學
The Rhyming Pattern of Modern Chinese Poetry and the Use of
Cantonese in the Teaching of Recitation楊鍾基、何杏楓（Chung-Kee YEUNG & Carole Hang-Fung HOYAN）
摘要
本文以香港中學會考課程所包括的三首新詩（徐志摩《再別康橋》、聞一多《也許》和黃國彬《聽陳蕾士的琴箏》）為主要分析對象，探討以粵語朗誦新詩的利與弊，並討論相關的教學問題。本文認為：（1）新詩的書面語既非全同於口語，而新詩的口語成分亦不以普通話為限，故在誦讀新詩而言，不應視普通話為唯一而且最佳的媒介。（2）在配合母語教學的前提下，向香港學生講授新詩時，兼以普通話和粵語朗讀，既可引起學生的語感，也可讓學生體會普通話和粵語兩者不同的音樂美。
Abstract
This paper focuses on the analysis of three modern poems included in the HKCEE syllabus ("Leaving Cambridge Again" Zaibie kangqiao 再別康橋 by Xu Zhimo 徐志摩, "Perhaps" Yexu 也許 by Wen Yiduo 聞一多 and "Listening to the qinzheng played by Chen Leishi" Ting Chen Leishi Qinzheng 聽陳蕾士的琴箏 by Huang Guobin 黃國彬), with the aim to explore the pros and cons of reciting modern Chinese poetry in Cantonese. Issues related to the use of Cantonese in the teaching of modern Chinese poetry are also addressed. It is the claim of this paper that: (1) the written language used in modern Chinese poetry is not equivalent to colloquial language, and the colloquial components of modern Chinese poetry are by no means confined to Putonghua. As a result, Putonghua should not be taken as the best media for the recitation of modern Chinese poetry. (2) Under the hypothesis of going in line with the Mother Tongue Policy, the use of both Putonghua and Cantonese in the teaching of modern Chinese poetry does not only help to increase the language sensitivity of the students, but also enhance their understanding of the phonetic characteristics of both Putonghua and Cantonese.