As one of the traditions of Chinese literary creation, romanticism has had a saying of "coexistence of romance and romance" since ancient times. It had a significant impact on China's modern literary world, especially the Chinese poetry world in the 1920s and 1930s, promoting the prosperity of new poetry and the emergence of a number of outstanding poetry writers, among whom Guo Moruo and Xu Zhimo were the representatives. . Their exploration and creation of new poetry are deeply praised by later generations, especially the display of passion and the promotion of personality, which fully demonstrate the romantic creative style. Guo Moruo studied in Japan in his early years. As the leader of the Creation Society, he widely accepted the ideas of Nietzsche, Whitman, Tagore, etc., and was more influenced by the new literature of Eurasia. At the same time, he was deeply influenced by the works represented by Qu Yuan and Li Bai. Inspired by the cultural heritage known for its magnificent imagination, bold spirit and patriotic passion, it emphasizes the "wholeness" and "beauty" of literature and emphasizes the important mission of literature to society. Xu Zhimo studied in England. As the leader of the "Crescent Poetry School", he mainly accepted the influence of British and American modernists. At the same time, he also inherited the clear and smooth style of Chinese graceful writers, advocating the supremacy of art and attaching importance to the display of personal soul. He believed that Poetry comes from "the muscles and bones burst out, the blood stays, the spirit escapes, and the life shakes out." [1] They were both in that era of great change. They abandoned the old, pursued the new, paid attention to life, and were confused about themselves... They often expressed themselves with strong subjective lyrical colors, which made them reveal their distinct romance. Romanticism tendencies, and represent the two directions of Romanticism. If Hu Shi is the first person to write new poetry in China, then he only made improvements in form. To be precise, it should be called vernacular poetry. Only the poetry creations of Guo Moruo and Xu Zhimo can be called new in the true sense. Poetry. The emergence of Guo Moruo and Xu Zhimo made romanticism appear coherent in the modern poetry world. During the New Culture Movement, Guo Moruo began to experiment with romantic creation. In 1921, he established the Creation Society, which formed a confrontation with the Literary Research Society. He advocated romanticism more clearly and used full passion to praise new things (such as "The Goddess"). "), romanticism and realism coexisted and became the two mainstreams in the literary world at that time. By the mid-1920s, due to misunderstandings of poetry theory by some poets, most members of the creative society began to deny romanticism and turned to realist creation. However, their early creations had a huge impact on the poetry world. At this time, Xu Zhimo inherited the banner of romanticism and clearly received the influence of Guo Moruo's positive romanticism in the early stages of his poetry creation (such as "Zhimo's Poems" ), and highly praised Guo Moruo's poems, "Every time someone asks me who is the most important among new poems, I always recommend Guo Moruo first" [2].
Only after that, he went through a period of "self-dissection and wandering" (including "A Night in the Emerald Green", "Tiger Collection", "Wandering"), and lost the passion and power of romanticism in the past. By depicting "Superman" " When he came to "Little People", pessimism enveloped the poet's heart, so he clung to the concept of "love" more tenaciously and went in another direction of romanticism. As the standard-bearers of romantic poetry, Guo Moruo and Xu Zhimo’s innovations and attempts in poetry forms played an important role in the development of poetry at that time. "Phoenix Nirvana" is the most representative work among Guo Moruo's works. The poet borrowed the legend about the phoenix "gathering fragrant wood, burning itself, and resurrecting from the ashes of death" to symbolize the destruction of old China and the poet's old self and the rebirth of new China and the poet's new self. First of all, the poet's impulsive, fanatical and turbulent lyrical style negates the traditional Confucian "poetry" of "innocence of thought", "gentleness and kindness, resentment but not anger", which completely breaks the formal constraints of traditional poetry and makes the form free. Liberation, full of transformation. The structure of the whole poem completely follows the poet's need to naturally express his emotions. There are no restrictions on the stanzas, they may be long or short, the lines of the poems are also uneven, and the rhymes are not strict. Through the phoenix's ruthless criticism and denial of the old universe and life, its burning of the old self without reservation despite the jealousy and ridicule of mortal birds, and the incomparable beauty and joy after rebirth, it expresses the poet's infinite love for the motherland and his deep love for the old. The great hatred of the world and the eager pursuit of the motherland's rebirth also profoundly reveal the profound philosophy of abandoning the old and seeking the new. In "Phoenix Song" and "Phoenix Song", the poet used a lot of parallel sentence patterns in order to vent his emotions; sometimes in order to strengthen a certain emotion, he also used refrains or repetitions, thus forming an uplifting melody and powerfully Strengthens the theme. It can be said that "Phoenix Nirvana" is eclectic in form and truly embodies the freedom and unrestrainedness of the new poetry form. Secondly, the wonderful imagination and bold exaggeration create the spectacular scenery and grand momentum of the poem. The poet added his own unique creativity to the old mythical stories, especially the picture of the phoenix and the phoenix burning themselves in the fire and being reborn in the fire. In addition, the ingenious use of symbolism is also a notable feature of this poem. In "Phoenix Nirvana", Guo Moruo gave profound meaning to phoenix, peacock, domestic pigeon, rock eagle, etc., and used animal language to show the side of life at that time. In Xu Zhimo's poems, every gust of wind and every leaf has its own special meaning. In their poems, there is a display of "pantheism". The personalized treatment of all things in the universe has become a direct object of lyricism, showing wonderful exaggeration and rich imagination. And extensive use of first-person creations makes the personality flamboyant, showing emotions whether it is turbulent passion or delicate tenderness. They all made great contributions to the exploration of new poetry forms.
Taking Guo Moruo's first new poetry collection "The Goddess" as the basis, the transformation from vernacular poetry to free poetry was basically completed, opening up a new world for Chinese new poetry. Xu Zhimo is even more committed to the exploration of new metrical styles, striving to achieve a kind of perfection in form, pronunciation, and artistic conception. His new poetry creation put into practice Wen Yiduo's idea of ??creating beauty in architecture, painting and music. His contribution to new poetry is especially in the beauty of music. He believes that music is the blood of poetry, and the main content of musical beauty is the "evenness and flow of the syllables of the content" of the poem; the syllables are based on the "true poetic feeling" and "poetic flavor"; the number of lines and the neatness of the words are determined by the The fluctuation of syllables, such as his "Sayang Nala". At the same time, the grace of style and the gorgeousness of rhetoric are also his achievements in new poetry creation, such as his "I don't know which direction the wind is flying", "Farewell Cambridge", etc. The psalms all show the softness and lightness of his style. Of course, there are also many differences in their poetry creation. Guo Moruo, who writes poetry with passion, also said, "I am a subjective person... I feel that my imagination is actually stronger than my observation. I have been fond of literature since I was a child to mark my existence. In literature I borrowed the reed flute of poetry. I am also an impulsive person. When I look back on the half-life journey I have taken, I have always allowed my own impulses to run wild; I then began to compose poetry. , Let my own impulses jump there. When I am impulsive, I am like a galloping horse, and when I am suffocated by impulse, I am like a dead puffer fish." [3] Guo Moruo pays attention to creation and once proposed that "an artist should not be the grandson of nature, nor should he be the son of nature, but should be the father of nature" [4]. He emphasizes the "wholeness" and "beauty" of poetry creation, and the great mission of literature to society. His vision often lies in his dissatisfaction with the dark society, his bold curse on decay and regression; his praise of new things, and his enthusiasm for revolution. support. His strong sense of politics makes his highly accomplished poems all show the spirit of the times, where resistance and innovation coexist. At the same time, they also show his exploration of life and life. He believes that "literature is the symbol of the spirit of resistance and the source of life." A kind of revolution called out when desperate", "The spirit of resistance, revolution, is the mother of all art anyway" [5]. It is also his "Phoenix Song" of "Phoenix Nirvana" that shows the poet's talent in a kind of unrestrained passion that spreads thousands of miles and stretches across the ocean. At the same time, the poet also advocates self-expression and natural expression, "My own intuition about poetry always feels that 'natural expression' is superior. If it is 'pretentious', it will always be nothing more than potted garden plants, and can only be enjoyed by rich people." [6]. In short, poets often express in their poems their design and pursuit of an ultimate ideal, and their conversion to an ideal personality, which is a transformation of the poet's ideal world and revolutionary ideas.
In his poems, people can feel the classical nature of the theme, and the ultimate goal of human life should be light and happiness. As a "love poet", Xu Zhimo advocates the supremacy of art and pursues the trajectory of his personal soul with "pure" art. The complexity of his thoughts also makes his creations quite different. "My thoughts - like others I have thoughts - will never be systematic." [7] However, the idea of ??democratic individualism is still the decisive factor that dominates him. In the early stage of his creation, on the one hand, he was trying to build a fantasy world to compete with it, and on the other hand, it was a criticism of the reality that he hated. Like his "It's not easy to live these days": During his "Self-dissection and Wandering" period, the magnificent "rebellion" poetry style gradually changed, and there was no longer the roaring waves and showers unique to romantic art. Strong winds and nature have become the spiritual dwelling place of Xu Zhimo's depressed soul. In his poems, there are more highly tragic and burning worries and pains (such as "Poison" and "Baby"), or they are about that. The persistent pursuit of this ideal love gradually separated his poetry from the contradictions of reality and became more internalized into an emotion, a humane, free and beautiful emotion. As Hu Shi said of him, "His outlook on life is really a kind of 'simple faith.'" There are only three big words in it: one is love, one is freedom, and the other is beauty. He dreamed that these three ideal conditions could converge in one life, and this was his 'simple faith': the history of his life was simply the history of his pursuit of the realization of this 'simple faith'" [8]. In form In terms of aesthetics and artistic conception, Guo Moruo's and Xu Zhimo's poems also have their own characteristics. Guo Moruo's poems often focus on the vividness of the inner charm, but do not pay much attention to the neatness of the form. They are not limited by rhythm and rhyme, and are influenced by Whitman. . It often takes passion as the guide, vents it at will, determines the length of verses and changes in chapters according to emotional needs, and absorbs the characteristics of "Chu Ci", pays attention to the use of modal particles, strengthens the expression of emotion, and pays attention to the use of Yisheng. The technique of "Three Sighs" makes the artistic conception truly follow the artistic requirements of "completeness" and "beauty", giving people a broad imagination space and a three-dimensional dynamic world level, like a free cursive scroll. However, some poems are too much. Prose culture has also become a regret in his artistic creation. Xu Zhimo's poems combine Chinese and Western traditions, paying attention to the harmony of form and charm. When talking about poetry translation, he pointed out that "the difficulty of poetry is not only its form, but also its form." It’s not just his charm, you have to turn the charm into form, like color into water, and you have to express the form” [9]. Xu Zhimo’s poems make people feel delicate, smooth, fresh, moving, calm and elegant. , like Chinese landscape paintings, gives people a lingering meaning and shows people a beautiful lyrical space.
Taking "Revolution and Literature" published by Guo Moruo in the third issue of Volume 1 of "Creation Monthly" in 1926 as a symbol, members of the Creation Society began to consciously turn from romanticism to realism. The "Crescent Poetry School" represented by Xu Zhimo also eventually disappeared because it was far away from reality. However, this fresh and strong wind played an important role in the development history of Chinese new poetry. A group of poets such as Cheng Fangwu, Feng Naichao, etc. emerged. A group of outstanding writers such as Zhu Xiang also influenced young writers such as Zang Kejia. Members of the Creative Society such as Guo Moruo completed the leap from vernacular poetry to free poetry; poets such as Xu Zhimo and other "Crescent Poetry School" avoided the common problem of previous poetry over prose culture through the new metrical style. Their creations not only greatly promoted the prosperity of new poetry at that time, but those explorations and exemplary works of romantic style also greatly influenced later generations of writers. It was they who promoted the birth of new poetry in the true sense and continued to move forward. The development brought about a brilliant situation in the poetry world in the 1920s and 1930s.
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