本文旨在討論「聲音」如何介入了新文學的發展，特別是在新詩的創作和理論建構上，促成它與傳統文學的辯證發展；而它又如何與現代的國語文教育相生相成，共同形成文學史上「現代的聲音」。全文的問題意識在於：過去談文學史，大多聚焦在書寫的文字部分，但新文學發展過程中，「聲音」其實是關鍵因素。它包括了語調節奏的變化，以及語系的選擇。本文以朱自清、朱光潛等人移植英倫經驗，在北京組織「讀詩會」為討論起點，全文主要包括以下四部分：一、從倫敦到北京：「讀詩會」與現代詩歌的音聲實驗；二、從無聲到有聲：「讀詩」與現代詩歌論述的開展；三、「聲音」與文學的現代性追求：新與舊，言與文；四、現代的聲音：朗誦詩、「國語的文學」與現代中國的國語文教育。

The goal of this article is to discuss how the voice intermediated in the development of New Literature (i.e. vernacular literature) in China, and, especially with regard to the creation of new poetry and the establishment of new poetry theory, how it brought about a dialectical development between new and traditional literature. The article will also discuss how voice and modern Mandarin language and literature education promoted each other and formed a "modern voice" within the literary history of China. The main idea around which the entire article centers is this: in the past, when discussing literary history, most scholars focused on the written aspect of the writing process. However, the voice was actually a key factor within the development of new literature, and it involved changes in tone and rhythm, as well as language choices. This article takes as a starting point for discussion Zhu Ziqing 朱自清 and Zhu Guangqian's 朱光潛 transplantation of their experiences in London and England to China, and the Poetry Recitation Society they consequently established in Beijing, and is divided into four sections:1) From London to Beijing: The Poetry Recitation Society and Experiments with Voice in Modern Poetry;2) From Voiceless to Voiced: Poetry Recitation and the Development of A Modern Poetry Discourse;3) The Voice and the Pursuit of Modernity in Literature: New and Old Literature, Spoken Words and Text;4) The Modern Voice: Recited Poetry, Mandarin Literature, and Mandarin Language and Literature Education in Modern China.