In fact, Li Jinfa's "symbolism" poetry is still in the primary stage of the development of modern poetry in China, not modernist, but he is the first poet in China who tries to separate the essence of poetry from truth, goodness and beauty. Some characteristics of European symbolism poetry school appeared in his poems, such as introducing death, decadence and morbidness into poetry (beauty has nothing to do with morality and utility) and adopting implicit expression (beauty is not in appearance), because they thought that only in this way can the essence of poetry be achieved-supreme pure beauty, which caused the shock of China cultural circles at that time. However, Li Jinfa's poems were not strong enough and imitated too much, although there were images.
Li Jinfa, on the other hand, let more people get out of sturm und drang's emotional venting poems (Guo Moruo's things) and start thinking about the essence and expression of poetry.
However, Dai Wangshu's poetry experienced emotional catharsis in the early stage and rational expression in the later stage, and his understanding of poetry gradually matured. Coupled with his skillful use of Chinese, his poems have reached a certain height. In fact, from this point of view, his Rain Lane is not a good "modern" poem, because although there are images and hints, it still reveals too many emotions, and the connotation of cloves is somewhat simple and thin. He himself was not satisfied with this poem, especially when he later dominated modernism.
Modernist poetry is the symbol of that era, and later poets either followed its footsteps or were more or less influenced by it, such as Feng Zhi, He Qifang, Fei Ming, Bian, "Nine-leaf Poet" and Ai Qing. Although many of their poems are in the form of early symbolic poems, their connotations are far above those of Li and Dai.