In the history of modern poetry in China, symbolism schools and modern poetry schools, which appeared in the mid-1920s and early 1930s respectively, are both "symbolism schools". By discussing these two schools of poetry and their representative poets, Li Jinfa and Dai Wangshu, this paper basically reveals the changing track of China's modern symbolic poetry from naivety to maturity.
Symbolism poetry school; Modern poetry school; Change over time
The symbolism poetry school that appeared in the 1920s is another "new force" in the poetry circle after the Romantic poetry school represented by Guo Moruo. This school of poetry has had a far-reaching influence on the development of new poetry with its unique poetic art and created a symbolic poetic style. Talking about this school of poetry, Zhu Ziqing said: "They don't pay attention to form, but pay attention to the color and sound of words. They should give full play to the suggestive power of words, create fresh metaphors and use function words in classical Chinese, so that readers will not miss a word. They are developing into beautiful places "[1].
The rise of symbolism poetry school in the mid-1920s not only has its historical reasons, but also is the inevitable result of the artistic development of new poetry itself.
After the ebb tide of the May 4th Movement, the sensitive young writers and artists stirred by the new ideological trend began to turn from enthusiastic singing and shouting to anguish and hesitation. This sentimental "disease of the times" once flooded the literary world. The "end of the century" thoughts of symbolist poets, which take fantasy as reality and melancholy as beauty, have aroused their songs and made them pay more attention to absorbing exotic nutrition juice in their poems to vent their accumulated sadness and depression. Judging from the development of new poetry itself, after completing the task of "great liberation of poetic style", early new poetry began to pursue its own improvement and perfection according to its own artistic laws. Although the early new poems, including realistic vernacular poems and romantic free poems, completely got rid of the shackles of the old poetry rules and freely expressed their thoughts and feelings, which opened the way for China's poetry to modernize, most of his works are "integrated" in art. The school of metrical poetry, represented by Wen Yiduo and Xu Zhimo, develops and perfects the lyric art of new poetry with rich imagination and absurd metaphors, and enriches the language of poetry, which is another progress of new poetry. Almost at the same time, other poets who absorbed the milk of western modernist poetry were not satisfied with the flat emotional picture shown in the new metrical poems, but found another way to pursue a three-dimensional sculpture effect. They introduced symbolism from abroad (mainly France), which brought a strange and unfamiliar artistic light to new poetry.
The early symbolic poetry school represented by Li Jinfa did not set up a group, issued a declaration of unity or even an official publication. It is precisely because their creative ideas and artistic characteristics are similar that they form similar genre styles, so they are often classified as one school in the history of literature. In addition to this school of poets, there are Wang, the author of Poems before the Madonna (1926), Mu, the author of Traveling Heart (1927) and Feng Naichao, the author of Red (1928). These three poets are all poets of the later creation society. Besides tending to French symbolism, they also have their own characteristics in their creation. Although Wang's poems capture the hazy poetic scene with keen feelings, they still retain the strong romantic atmosphere of Byron or Hugo, and are also "better than seclusion and melancholy" in artistic expression. Mu pinned his feelings on distant images and paid attention to the neatness of syllables, but he was not committed to expressing colors. Feng Naichao sang decadence, shadows, dreams and fairyland, forming an artistic atmosphere with rich colors and sonorous syllables. Yao Pengzi and Hu Yepin also belong to this school. Yao Pengzi published a collection of poems, The Silver Bell (1929). His poems are famous for their keen feelings and hazy artistic conception, and use the free verse system. Hu Yepin, a left-wing poet, was deeply influenced by Li Jinfa's poetic style. He sprayed true feelings with symbolic art, making readers feel that a pure heart in Alan Yu is beating. He also uses free verse, and his representative collection of poems is Selected Poems in the Night (1929).
Li Jinfa, known as a "strange poet", most prominently embodies the ideological content and artistic features of early symbolism poetry, and obviously leaves traces of "transplanting" French symbolism poets.
Li Jinfa (1900 ~ 1976), formerly known as Yu 'an, also known as Liang Shu, was born in Meixian County, Guangdong Province. 19 19 studied in France, studied sculpture at the National Academy of Fine Arts in Paris, and began to write new poems the following year. At this time, it was the rise of symbolism poetry movement in the late French period, and he couldn't put it down and read Baudelaire's Flowers of Evil, as well as poems by Wei Erlun and Malarme. The contents and techniques of these French symbolism poems are quite different from other schools, which made him deeply infiltrated and had a far-reaching influence on his later poems. 1925, the publication of his first book of poetry, Slight Rain, caused a shock in the poetry circle. On the one hand, it was highly praised by Zhou Zuoren and others, saying that "this kind of poem is China's unique work" (4) "a new and different singing style" (5); On the other hand, many people criticize these poems as "too mysterious and too Europeanized", which is hard to understand. Then, he published poetry anthology Songs for Happiness (1926) and Diners and Bad Years (1927). Obscurity is the main artistic feature of his poems. As far as Li Jinfa's works are concerned, his poems are full of strange imagination and fresh metaphors, and they are also very distinctive in shaping images and revealing people's deep consciousness. In particular, the introduction of painting and sculpture in his poems and the strong exotic sentiment permeated in many of his poems were really "unique" to most readers at that time. However, his introduction of French symbolism poetry generally adopts the way of "transplantation", which is not absorbed after digestion, and is often mechanically copied. His poems are very casual in the combination of images, even contrary to common sense. In the use of language, the above words are mixed, the syntax is Europeanized, and foreign words are arbitrarily embedded, which makes poetry and painting fragmented and obscure, and it is very appetizing to read. Of course, if we look at the evolution of new poetry art from a historical perspective, we should see Li Jinfa's achievements in introducing symbolism into new poetry creation.
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2 From Li Jinfa to Dai Wangshu-the changing track of China's modern symbolism poetry.
In the history of new poetry, the emergence of symbolism is the progress of the performance art of new poetry. This symbolic art of organizing thoughts and feelings with a highly compressed structure, with sensitive feelings, strange images and vivid metaphors, is instructive to enrich and improve the art of new poetry. His poems have the following characteristics:
(1) Pay attention to the symbolic and suggestive functions of poetry. Li Jinfa believes that symbolic poetry is important, and the view that "the Jewish people need blood" ⑥ accords with the view of French symbolic poets, that is, poetry is "an idea engraved with symbols". Symbolist poets regard objective external things as a "symbolic forest" that can convey information to people and interact with people's hearts. This behavior of expressing corresponding thoughts and feelings through specific concrete images is generally called symbol. Li Jinfa's masterpiece "Abandoned Wife" uses infectious images and novel and unique metaphors to create a prominent and distinctive image of abandoned wife. In this poem, the poet abandoned her long hair and "aging skirt", showing the deep sorrow and great pain of the abandoned woman, as well as her inner anxiety and sadness. The first two sentences of the poem tell the tragic fate of abandoned wives in their own words: after being driven out of their homes, they can only sleep in the wilderness and live in the broken walls, and they are completely tired of the world. Therefore, the long hair covering your eyes is used as a barrier to block the shame and jealousy that ugly people cast on me, and to block all the bloody struggles and deaths of intrigue. But every night, my heart is like a frightened bird, afraid of disaster arrival. Even the tiny chirping of mosquitoes seems to me like a strong wind that makes countless nomadic people tremble. In the helpless situation, I only ask the gods for mercy and comfort, otherwise, I will have to give up the mountain springs and red leaves. The last two sections suddenly changed their names and wrote "hidden worries" and "elegies" of abandoned wives from the perspective of onlookers. Day after day, although the night is coming, the "boredom" of the whole day cannot be reduced to ashes and still lingers in my heart. It is better to die like this, let the soul fly to the sky with the feathers of stray crows, or float to the beach and listen to the boatman's songs happily. In the last section, I wrote that my abandoned wife lamented that she was "wandering by the grave". Tears had already dried up, and only the blood and tears in her heart were "dripping on the grass" and "decorating" this ugly and cold world.
The image in symbolic poetry is not only the image itself, but also the image itself, which has ambiguous connotation. "What a symbol wants people to realize is not something specific and individual like itself, but the universal meaning it implies." 7. Abandoning a wife, as a concrete image, its symbol naturally has certain social significance, and it is a silhouette of a poetic and tragic life. The poet poured out his bitterness to the unfair society through her tragic fate. Such creative intention cannot be ruled out. Because in the same period, Li Jinfa also created sculptures with similar themes. According to an insider, "all his sculptures satisfy the state of human groaning or pain, making people feel like they are in a ghost cave." But as a symbolic poem, it needs us to explore more from its symbolic meaning. Compared with concrete and individual image description, symbolism poetry has more "implication" and "intention beyond image", which "not only makes people feel what it contains, but also reminds people of more profound things" [9]. In connection with the discrimination and love trauma Li Jinfa suffered while studying abroad, as well as the pessimistic, negative and decadent thoughts of symbolic poetry, we should understand the deeper connotation of this poem. In the image of abandoning his wife, the poet embodies the sadness, fear, loneliness and world-weariness of many people abandoned by unfair society, including himself. It can be said that this is a sad song of life fate. The reason why the image of abandoned wife has such a polysemous connotation lies in the poet's emphasis on developing the symbolic function and suggestive function of poetry, so that readers can "go from one to another", develop associations from the individual to the general, and understand something more profound. Symbolic polysemy, implied elasticity and tension are the unique skills of symbolic poetry.
(2) Pursuing image setting. Li Jinfa's poems try to avoid describing things in a rough way or in a direct lyrical way, but strive to transform thoughts, feelings and feelings into tangible images and pursue the three-dimensional sense of sculpture. For example, the poet wrote in the poem "Love and Hate" that "human feelings are cold and warm, and the world is cold"-"spiders tremble in front of the wind and are unable to fall in love with the world". And write his lonely mood, all by "my soul, is the bell of the wilderness" ("mine"). Write about the hardships and trudges on the road of life: "My broken heart will turn in the mud forever" (Song of the Night). These descriptions of the world, mood and life are all accomplished by setting images. Spiders shivering in front of the wind can't weave webs. This image expresses people's helpless sigh on the way to the sinister world where people want to cross the river. The clock in the wilderness is so vague that it is used to vent the loneliness of the soul. The broken heart chakra always turns hard under the mud, which is a metaphor for the hardships of life journey. All these thoughts and feelings are not directly described and expressed in poetry, but transformed into images, solidifying abstract and flowing thoughts into concrete sculptures.
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3 From Li Jinfa to Dai Wangshu —— The changing track of China's modern symbolism poetry
(3) Strange imagination and fresh metaphor. The richness and strangeness of imagination is the strength of Li Jinfa's poetry, which is directly related to his delicate observation and keen feeling of surrounding phenomena as an artist. In the first paragraph of Abandoned Wife, whenever night falls, the abandoned wife who lives in a broken wall suddenly feels fear, such as a frightened bird holding its breath to listen to the movement around her. The sound of a mosquito is as thrilling as "screaming" to her, and "howling like a strong wind: shaking countless nomadic people". It's an exaggeration to describe the sound of mosquitoes with "howling", but the thought of "howling wind" that makes countless nomads shudder makes this association even more bizarre, but strange but not strange, which just reflects that the abandoned wife was scared, foresaw the horror of disaster, and strongly rendered the lonely and helpless atmosphere hanging over her heart. Such a strange imagination, its tentacles have extended to people's secret subconscious world. As for metaphor, it symbolizes the life of poetry. Li Jinfa's poems also have their own characteristics in this respect. He does not put metaphor on a clear shelf, but adopts the method of "taking metaphor far away" The usual metaphor is based on the similarity between things, but the metaphor in his poems is strongly subjective and arbitrary, which is produced by human intuition, even hallucinations and illusions, which greatly opens up the world of metaphor and forms a metaphorical relationship between very distant and almost unrelated things. This situation can be seen everywhere in Li Jinfa's poems, such as: "Our life is too withered, like a paddy field trampled by animals" (Expression of Time), and "Paddy field trampled by animals" is used to describe the ruin and desolation of life. "Hope turns into morning dew and comes and goes in the small window of my heart" ("Hope and pity"), and "morning dew" is used to describe the shortness and loss of hope. "A woman's heart has become an animal's hoof, and she can't forget it for a moment" (Paris Talk). The harm of "animal hoof" is arbitrary, similar to "woman's heart" "Life is a smile on the lips of death" ("Feeling"), using "smile on the lips of death" to express the absurdity of life, holds a mocking meaning to life itself. These metaphors are based on discovering new relationships between things, so they are called metaphors.
(4) The image and artistic conception of the high jump. Between image and image, artistic conception and artistic conception, relevant words should be removed and separated from each other to strengthen the sense of strangeness and excitement of each image and artistic conception. Critics call this technique "the strangeness of conceptual connection", and those omitted words are blank meanings in poetry, which need readers' imagination to find and fill. Li Jinfa's pursuit of poetic art is quite typical in the poem Self-portrait. Look at these words: "hot as the sun, gray as the crescent moon in the clouds." I have sandals, and I can only walk a corner of the world to give birth to feathers? " Too many things! "My heart is full of fire, but it can only give off a faint light, just like I can only walk in a small corner of the world in sandals. It would be great if I could grow a pair of wings and fly away, but I dare to have such a extravagant dream! This is the poet's exclamation of his ambition. This unusual composition is difficult to express a complete meaning, but it vaguely reveals the poet's inner feelings and emotions. But if you omit too much, the ideas you want to express will be fragmented and obscure, which is not desirable because it blocks the way for readers to understand.
(5) Extensive use of synaesthesia rhetoric. Breaking through the boundaries of vision, smell, touch, taste, hearing and other senses, allowing them to communicate and transform with each other can often create novel situations and bring unexpected aesthetic pleasure to readers. Li Jinfa is good at this and is widely used in his poems. Like "the night outside the window, dyed the lonely heart blue" ("the illusion of a cold night"); "Pink memories, like rotting beasts on the roadside, smell strange" (Song of the Night); "Camellia, wild chrysanthemum and poppy, intentionally fragrant our silence" ("Swallow Cut Spring Sorrow") and so on. Through the removal, communication and transformation of emotions, the aesthetic space of readers has been greatly broadened.
The modern poetry school that appeared in the early 1930s is not only the inheritance of the early symbolic poetry school, but also the result of the evolution and development of the crescent poetry school.
Shi Zhecun once summed up the "* * * characteristics" of modern poetry school: "Modern poetry is poetry, and it is pure modern poetry. They are modern emotions that modern people feel in modern life, and they are arranged into modern poetic shapes with modern words. [⑩]. The "modern people" mentioned here and the "modern emotions" they feel have their specific meanings. The so-called "modern people" actually refers to a group of petty-bourgeois intellectuals who are far away from the vortex of modern struggle and have a sense of confusion and disillusionment with life; The so-called "modern mood" actually refers to the unique mental state of these people. They "escaped from the smoky real society", regarded poetry as the escape of the soul from the kingdom, and sought "rest and purification" in a transcendental illusion. "It is the soul that leaks in poetry" [① ①]; They were "a little sensitive and at a loss at that time because of their unclear direction" [① ②]. This has formed the basic content characteristics of this school of poetry. In this regard, as early as the 1930s, critics made an accurate summary. Sun Zuoyun, who first put forward the term "modern poetry school", pointed out in the article "On Modernist Poetry" published in 1935 that modern poetry school "contains a pessimistic and nihilistic thought and a groan of despair". Quyi also pointed out in the article "The Trace of New Poetry and Its Way Out" that what this school of poetry created has "become a sad voice in troubled times" [① ③]. Poets of modern poetry school all have a youthful and morbid heart. They chanted helplessly: "I am a combination of youth and aging. I have a healthy body and a morbid heart." (Dai Wangshu: ("My Essays") "After spring and summer, I am haggard in the dark, in a daze, silent and not crying!" (He Qifang: seasonal disease) "We are just poor shipwrecks swept away by the annual waves of the sea." (Dai Wangshu: Night) "Life is in the smoke of the lake, in the rowing boat." (Jin Kemu: Life) "The rose of blood withers and trembles in the death knell." (Tuberculosis patients in Zhang Jun) ... In the works of these poets, there is a lack of civilian spirit and social projection, just some pale emotions like Qiu Chan, and their tone is gloomy.
Some of them were not copied because of the word limit.
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