What is the historical fate of modernist poetry in China's modern literature in the past 30 years?

1September, 928, Liu Naou founded the literary magazine "Trackless Train", in which Dai Wangshu, Shi Zhecun and others published free-style modernist poems with images as the main form of expression. The magazine was closed down only four months after its publication. Shi Zhecun, Dai Wangshu and Liu Naou founded a monthly literary magazine, New Literature and Art, in September 1929, and continued to publish poems with images as lyrical means. However, New Literature and Art was also closed down a few months after its publication. 1932 In May, Shanghai Modern Bookstore invited Shi Zhecun to edit the newly established large-scale literary magazine Modern, and some poets published their creations in the magazine, which was called "modernism" at that time. Shi Zhecun said, "Poetry in' modern' is poetry, and it is pure modern poetry. They are modern emotions that modern people feel in modern life, and they are arranged in modern words and in modern poetic forms. " This passage is regarded as the definition of modernist poetry. 1934 10, Bian edited Mercury in Beiping, which echoed the modern times and promoted the development of this new trend of thought. 1936 10, Dai Wangshu edited New Poetry, and invited Bu, Feng Zhi, Sun Dayu and Liang to participate in the editing, which further developed the modern poetry school. In addition, some publications are permeated with symbolism. The most influential are modern and new poetry.

Therefore, the so-called "modernism" is generally a general term for young poets with similar creative styles who rose newly from the 1930s to the eve of the Anti-Japanese War.

1936- 1937 before the outbreak of the anti-Japanese war, the modern poetry school developed into a "golden age." Poetry is very popular all over the country. The modern poetry school in this period is divided into two branches: subjective feeling and subjective understanding.

The main emotional branch is represented by Dai Wangshu. Dai Wangshu was influenced by Li Jinfa's poems at the beginning of his poetry creation, and showed a mentality of digging his heart from the beginning. His early poems, Going Out in Tears, Sorrow at Home and Nightingale, all have a lonely and miserable image of "I" to express personal worries and sadness. The gloomy style and gloomy color constitute the tone and background of Dai Wangshu's early creation. There are other modernist poets who are interested in emotion, such as Yu Gengyu and Shao. Yu Gengyu's personal life was bumpy. When he was young, he lost his wife, his hometown was in war, and he was forced to wander in a foreign land. He has many kinds of poems, such as Rose on the Skull, Dance of the Devil, Lonely Elf, etc. He often takes barren graves and skeletons as subjects, which has a Baudelaire flavor, so he is called a "sad poet". Shao has a collection of poems, The Crime of Flowers and Twenty-five Poems. The world in his mind is women and love, flowers and dreams, heaven and immortals, and he is called a "sensual poet".

Modernist poets are represented by Bian. Emotion is calm, which explores and implies the mysterious philosophy of life in the universe, and the implied philosophy is often painted with the color of metaphysics. Fei Ming, Cao and Liang all belong to this school. Fei Ming's poems have the flavor of Zen and Taoism; Cao's poems are cold and strange; Liang's poems are beautiful and graceful. They all look for the value of life in Xiaotian's "self" field and painstakingly weave a wreath of poems.

1February, 935, Shi Zhecun and others "already feel that there is no room for development in subject matter, form and description method." At the same time, in most undeveloped countries, such as China, it is difficult for obscure and plaintive modernist works to occupy a broad cultural consumption market. In addition, due to other reasons, Shi Zhecun resigned from the editing of Modern, and Shi Zhecun embarked on the old road of realistic local creation again, and founded the "third person" publication Spark with Yang Dunren, Han and others, and modernist poetry showed signs of decline. After the outbreak of the Anti-Japanese War, some writers who created by modernist methods subjectively pursued surreal ideas and illusions, but what filled their eyes and ears was the grim reality of leaving their homes and shedding blood and tears. Abandoning rationality, advocating absolute subjectivity and their unique pessimism and despair about high material civilization are almost insulated from the fighting psychology of workers and peasants in China for survival and liberation. As a result, the distribution of modern poetry has undergone great changes, and many poets have changed their homes and integrated their creation into the tide of realism. Dai Wangshu, the forerunner of modernism, walked out of the "lonely and rainy lane" and devoted himself to the real life of life-and-death struggle. He even wrote famous realistic patriotic poems such as "I use my residual palm" and "Prison Wall" in War of Resistance against Japanese Aggression. Bian, who is familiar with western realism, got rid of the early "melancholy and helpless fatalism" and began to complete the transformation from the inside out; He Qifang, who was once addicted to "floating clouds", bluntly declared: "I would rather cover the roof with thatch than clouds, moons and stars." Modern poetry school has gone from peak to decline.