A Comparison of the Poetic Features between Guo Moruo and Xu Zhimo

As one of the traditions of China literature research, there has been a saying of "coquettish coexistence" since ancient times. It had a great influence on China's contemporary literary world, especially China's poetry in the 1920s and 1930s, promoted the prosperity of new poetry and produced a number of outstanding poets, among whom Guo Moruo and Xu Zhimo were the representatives. Their exploration and creation of new poems are well known to later generations, especially their emotional exposure and personal promotion, which fully shows Hou Lang's creative style. Guo Moruo studied in Japanese schools in his early years, and as the main leader of the creation society, he widely accepted the main works of his niece, Whitman and Tagore. And more influenced by the new literature of Eurasia. At the same time, he was deeply influenced by the cultural connotation represented by Qu Yuan and Li Bai, which is characterized by magnificent imagination, heroic spirit, love for the country and exciting feelings. He emphasized the integrity and beauty of literature and the importance of literature to society. Xu Zhimo studied in Britain as a leader of the "Crescent Poetry School". He should not only accept the influence of modern schools in Britain and America, but also inherit the elegant and fluent style of graceful school in China, pay homage to artistic skills and attach importance to the display of personal mind. It is believed that poetry comes from "bone bursts out, blood stays outside, soul escapes, and life shakes out." [1] Both of them live in the era of great changes, and both of them show their past feelings and colors with a strong subjective view, which makes them show their own bright and bright waves and show their two directions in different generations. If Hu Shi is the first person of China's new poetry, then he just changed the form and should definitely be called vernacular poetry, while the poems and songs of Guo Moruo and Xu Zhimo can only be called real new poetry. The appearance of Guo Moruo and Xu Zhimo makes the main meaning of romance present continuity in modern poetry. During the New Culture Movement, Guo Moruo began to try to create the idea of waves, and founded the Creation Society in 192 1, which was in opposition to the Cultural Research Association and more clearly advocated the idea of waves. Singing new things with full excitement (such as Goddess) made the idea of the wave coexist with the idea of reality, which became the two mainstream literary circles at that time. In the mid-1920s, due to some poets' misunderstanding of the theory of poetry and song, many members of the creative society began to decide whether to make waves, ramble and turn to real ism. However, their previous creations have brought great influence to the poetry circle. At this time, Xu Zhimo inherited the banner of the wave, and before his poetry creation, he was obviously overwhelmingly influenced by Guo Moruo (such as Poems of Zhimo), and he was full of praise for Guo Moruo's poems. "Every time someone asks me who is the most important new poem, I never let it go." [2]. Only after that, he went through a period of "self-cutting and traveling" (including A Cold and Green Night, The Collection of Fierce Tigers and Traveling) and lost the excitement and strength of the stormy waves of the past. From the description of "super-human" to "nobody", the sad view of emotion obscured the poet's heart, so he stubbornly adhered to the view of "love" and headed for another turbulent direction. As the standard-bearers of meaningful poetry, Guo Moruo and Xu Zhimo's innovations and attempts in the form of poetry played an important role in the development of poetry at that time. Phoenix Nirvana is Guo Moruo's most representative work. The poet borrowed Guan Fenghuang's legend that "the incense sticks burn themselves and then they will be reborn from the ashes", such as the destruction of old China and the rebirth of the poet's old self and the rebirth of the new China and the poet's new self. The impulsive, frenzied and impetuous emotional expression of the first batch of poets is a denial of the "poetry teaching" of traditional Confucianism, which is "thinking without evil", "being gentle, respectful and frugal, complaining without anger", completely breaking the shackles of traditional poetry and lyrics, and the form is self-released and full of changes. The structure of the whole poem fully meets the needs of the poet's feelings and self-declaration. There is no restriction on the stanzas, no matter whether they are long or short, the lines of the poems are not coherent and the rhymes are not strict. Through Feng Huang's ruthless judgment on whether to decide the old universe and life, regardless of the jealousy and ridicule of the birds, he burned the old self without protection, expressing the poet's infinite love for the motherland. The great pain and hatred for the old world and the eager pursuit of the new life of the motherland also reveal a profound philosophy of abandoning the old and seeking the new. In "Feng Ge" and "Feng Ge", poets use a lot of parallelism sentences to express their feelings. Sometimes in order to strengthen a certain emotion, repeated sentences or overlapping sentences are used to form a spiral law from beginning to end, which effectively strengthens the main topic. It can be said that the form of "phoenix nirvana" is not limited to a single mode, but actually shows the free operation of the form of new poetry. Secondly, fantastic imagination and bold boasting have created a magnificent landscape of poems and songs. The poet added his own unique ideas to the ancient story of God, especially sketching a picture of the phoenix and the phoenix burning in the fire. In addition, the clever use of image symbols is also a remarkable feature of this poem. In The Phoenix Nie, Guo Moruo endowed the phoenix, peacock, domestic pigeon and rock eagle with profound meaning, and expressed the life at that time in the language of animals. In Xu Zhimo's poems, a gust of wind and a leaf all have their own special meanings. In their poems, there is an exhibition of "pantheism", in which the individualization of all things in the universe becomes the object of direct expression, showing magnificent exaggeration and rich imagination. Coupled with a large number of first-person creations, the character is arrogant, and both passionate emotions and delicate and soft emotions are revealed. They all made great contributions to the exploration of new poetry forms. Based on Guo Moruo's first new poetry collection Goddess, the basic edition changed from vernacular poetry to self-directed poetry, which opened up a new world for China's new poetry. Xu Zhimo, on the other hand, is trying to explore new metrical forms, trying to achieve the perfect unity of form, rhyme and meaning. His new poetry creation practices Wen Yiduo's poetry creation with architectural beauty, painting beauty and music beauty as the main theme. His contribution to new poetry lies especially in the beauty of music. He believes that music is the blood of poetry, and the beauty of music is mainly based on "the uniformity and flow of stanzas contained in poetry"; Poetry festival is based on "true and pure poetry" and "poetry"; The consistency of lines, words and sentences depends on the fluctuation of stanzas For example, his "Shayangnala" is contemporary, and the beauty of style and rhetoric are also his achievements in new poetry. For example, his poems such as "I don't know which direction the Taoist wind flies" and "Farewell to Cambridge" all show his softness and lightness. However, there are many differences between their poems and songs. Guo Moruo, who entered the poem excitedly, also talked about himself. "I am a person who tends to be subjective ... I feel that my imagination is actually stronger than my observation. I like literature to express my existence since I was a child, and I borrowed the reed flute of poetry and songs in literature. I am also an impulsive person, an impulsive person ... I look back at the half-life road I have traveled, and I have been rushing there alone; I began to write poems, and I danced one by one in the room. When I run, I look like a galloping horse. When I rushed, I looked like a dead puffer fish. " [3] Guo Moruo pays attention to re-creation, and once put forward that "artists should not be their own grandchildren, nor their own children, but their own old children" [4]. He talked about seeking the "integrity" and "beauty" of poetry and songs, and talked about the importance of literary research to social clubs. His vision lies in his dissatisfaction with dark social clubs and his curse on corruption and retrogression. Enthusiasm for praising new things and supporting revolution. His strong sense of political governance makes his highly successful poems show the spirit of the times, and resistance and innovation coexist. At the same time, he also showed his exploration of life and life, thinking that "literature is a sign of anti-resistance, and it is a revolutionary life summoned when life is poor and urgent." "Anti-spiritual and revolutionary life is the mother of a cutting art in any case" [5]. It is also his "Phoenix Nie" and "Phoenix Song" that show the poet's talent and brilliance in a state of excitement. At the same time, the poet also asked Zhang to express himself and show himself. "I always feel that my own intuition about poetry is based on' self-disclosure'. If it is based on' affectation', it is nothing more than a gardening basin, which is only suitable for those rich people to enjoy" [6]. In a word, the poet wants to show his design and pursuit of an ultimate ideal in his poems. His conversion to ideal personality is the poet's thinking about the world and his change of life. In his poems, people feel the classical theme, and the ultimate goal of human life should be light and happiness. As a "love poet", Xu Zhimo's worship of art has reached the highest level, and he pursues the track of a person's soul with "pure essence" art. The contradiction of his thoughts also makes his creation very different. "My thought-just as I have my thought-has never been systematic." [7] However, the people's individual justice thought is still the decisive factor supporting him. At the beginning of his creation, on the one hand, he tried to establish a fantasy world, on the other hand, he criticized what he hated. Like his "It's not easy to be alive at the beginning of this year": by the time he "traveled by himself", the style of his magnificent "counter-insurgency" poem had gradually changed, and there was no roaring waves and showers and strong winds unique to the art of the wild. Nature has become the spiritual habitat of Xu Zhimo's tragic mind. In his poems, there are more burning worries and pains (such as poison and babies) that are highly tragic and dramatic, or the persistent pursuit of that kind of rational love. His poetry is slow, divorced from the real spear and shield, and more internalized into an emotion, a self-sufficient beauty of humanity. Just as Hu Shi commented on his cost, "His outlook on life is really a kind of' pure belief'", and there are only three big characters in it: one is love, the other is self-improvement and the third is beauty. He dreams that these three ideas can be combined in one life, which is his "pure belief": the history of his life is only the real history of his pursuit of this "pure belief" [8]. In form and meaning, the creative styles of Guo Moruo and Xu Zhimo also have their own characteristics. Guo Moruo's poems pay attention to the inner charm, not to the uniformity of form, not limited by meter and rhyme, but influenced by Whitman. It is often based on arousing emotions, and the length of poems and sentences should be determined according to the needs of emotions. It is also necessary to absorb the characteristics of Chuci, pay attention to the use of semantic words, and strengthen the expression of emotions. And pay attention to the use of singing and sighing, so that the artistic realm truly follows the artistic requirements of "completeness" and "beauty", giving people a vast world layer that is empty and three-dimensional, and a book of its own. However, the excessive prose of some poems has become the regret of his artistic creation. Xu Zhimo's poems combine the traditions of the East and the West, and pay attention to the harmony of form and charm. When talking about translating poetry, he pointed out that "the difficulty of poetry lies not only in its form, but also in its charm." You have to integrate the charm into the form, and you have to show the form "[9]. Xu Zhimo's poems give people the feeling of being thin and greasy, smooth, fresh, moving, calm and elegant, just like China's landscape paintings, giving people a gentle meaning and a beautiful space to express their feelings. Based on the book Ming Ge and Literature published by Guo Moruo in the third issue of Creation Society Monthly on 1926, members of the Creation Society began to explore for themselves, moving from the tide to reality. The "Crescent Poetry School" represented by Xu Zhimo finally disappeared because it was far from reality. However, this fresh and strong wind contributed greatly to the development of China's new poetry, and a number of outstanding writers such as Cheng Fang, Feng Naichao and Zhu Xiang emerged, which also influenced young writers such as Cang Kejia. Guo Moruo and other members of the creative society completed the leap from vernacular poetry to free poetry; Xu Zhimo and other crescent poets have avoided the common problem that poetry is more important than prose in the past through the new meter. Their creation not only greatly promoted the prosperity of contemporary new poetry, but also greatly influenced later writers with their explorations and classic works, precisely because they promoted the birth of this truly meaningful new poetry. Then the exhibition was extended to the front, which made the poetry circles in the 1920s and 1930s shine.