Mu Dan (1918-1977), formerly known as Liang Zhen, was born in Yuanhua Town, Haining City, Zhejiang Province, and his ancestral home was Tianjin. Modernist poet and translator.
1940 stayed on as a teacher after graduating from The National SouthWest Associated University. 65438-0949 studied in the United States and entered the English Literature Department of the University of Chicago. 1952 received a master's degree in literature. 1953 After returning to China, he served as an associate professor in the Foreign Languages Department of Nankai University. 1958 was persecuted by politics and transferred to the library. 1977 died of heart disease.
In the 1940s, Mu Dan published three poems, Expedition, Mu Dan's Poems (1939 ~ 1945) and Qi, which combined western European modernism with China's poetic tradition. His poetic style is full of symbolic meaning and spiritual speculation, and he is the representative poet of the "Nine Leaves Poetry School". After 1980s, many modern literature experts praised him as the first person in modern poetry.
The main translations are Russian Pushkin's Bronze Knight and Pushkin's Lyrics, British Shelley's Lark and Shelley's Lyrics, British Byron's Don Juan, Byron's Lyrics and Byron's Poetry, British Blake's Poetry and Keats' Poetry.
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Mu Dan became the most popular young poet at that time as early as the forties, and his poems had a strong response among Shanghai poets. In the early 1940s, when Wen Yi selected Modern Poetry Banknotes for many times, he selected his 1 1 poems, the number of which was second only to that of Xu Zhimo. At the beginning of 1948, Fang's English version of Selected Modern Poems of China was published in London, in which nine poems by Mu Dan were translated.
1952, Mu Dan's two English poems were edited by American poet Hubert Creekmore and selected into the World Poetry Vault, and only He Qifang was selected as other China poets. The artistic style, poetic tradition, ideological tendency and significance of literary history of Mu Dan's poems were deeply discussed by some poets and critics in the 1940s, and were introduced into English literature.
Since the early 1950s, Mu Danpin has been hit by political movements, and his body and mind have been greatly devastated. He was forced to disappear from the poetry world and devoted himself to the translation of foreign poems until his sudden death.
It was many years after Mu Dan's death that he was gradually recognized by people. People published his poems and commemorative collections, and held a "Peony Academic Seminar", which highly praised him. He even topped the list of "20th Century China Poets". This unusual phenomenon is called "Mudan phenomenon".
In The New Direction of Poetry, Yuan Kejia thinks Mu Dan is "one of the most energetic and farthest poets of this generation". Now it seems that this judgment is accurate.
Yuan Kejia reviewed the origin and development of the modern new poetry tide in the history of modern literature, and thought that "Mu Dan was at the forefront of the new poetry tide in the 1940s and was a veritable standard bearer.
On the issue of lyricism and the "modernization" of language art, he is more thorough than anyone else. But Yolanda pointed out that this "thoroughness" inevitably brought a certain degree of rigidity and obscurity in some immature poems, which made his works not understood and appreciated by more people today. This is a lesson we should learn.
Wang Zuoliang believes that "in any case, Mu Dan has reached the forefront of China's poetry with a new theme and language, but critics and literary historians have been slow to approach him". Wang Zuoliang also talked about Mu Dan's poems in his later years, arguing that after nearly 30 years of ups and downs, the poet still has that unparalleled poetic talent. He thinks Winter can be listed as one of Mu Dan's best works.
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