The teaching focus of this chapter: the macro trend of China New Poetry School and its three major sources of influence.
China's new literature began with the rise of new poetry. From the day it was born, it quickly formed a genre. From its delay and change, it has gone through a difficult course of more than 80 years. In the meantime, schools have come and gone, showing a lively scene of "you sing and I will debut". However, it is this pluralistic coexistence and free competition of new poetry that promotes the development of China's new poetry.
The first section is the macro trend of China New Poetry School.
In the May 4th literary revolution, when new poetry broke through the barriers of old poetry and quickly occupied China's poetic circles, there appeared three major poetic trends in world literature: realism, romanticism and modernism, among which modernism was dominant. China, which is ancient and barren, needs realism and romanticism more, so China's new poems in the May 4th period first accepted realism and romanticism. Realism, in particular, has made great progress because it conforms to China's special national conditions, and finally becomes the mainstream of China's new poetry. Romantic poetry found a suitable soil around the May 4th Movement and in the middle and late 1950s, and set off two climaxes. Although modernist poetry tide has formed a genre in the1920s, it has never formed a cultural background of capitalist industry in China, and modernism has not achieved a good living condition, so it has always been struggling, and it has only formed momentum in big cities such as Shanghai, Beijing and Wuhan, where the capitalist economy is abnormally developed. After liberation, modernism was recognized as bourgeois art by mainland rulers, and it was completely swept out of the house and was silent for 30 years. At this time, modernist poetry in Taiwan Province Province was in the ascendant, which just made up for the deficiency of mainland poetry. After the reform and opening up, with the introduction of various western literary thoughts and the deepening and prosperity of China's economic reform, it has found a suitable soil for the revival of modernism. Modernist and post-modernist poetry, represented by "misty poetry" and "new generation", rose rapidly and once won the honor of competing with realistic poetry. From the mid-to-late 1980s to the 1990s, China's poetry world almost became a post-modern world, and there was a situation of mountains and chaos. However, the superficial excitement can't hide the inner poverty and emptiness, which brings vitality to China's new poetry (then called China's modern poetry) and almost ruined its future. We will wait and see the fate of China's new poetry in the new century.
Part II: Three sources of the influence of China New Poetry School.
First, the horizontal transplantation of foreign poetry tide.
As we all know, any school survives and develops in the collision and blending of nationalization and globalization, and China New Poetry School is no exception. It has also gained its due position in the two-way convection of nationalization and globalization. The three poetic thoughts of China's New Poetry School-realism, modernism and romanticism-have a direct correspondence with the three poetic thoughts in the world. However, they have different development trends. When world poetry (especially European and American poetry) turned from realism and romanticism to modernism, China's new poetry also turned from romanticism and modernism to realism, showing some contradictions. However, this retrogression will not detract from the social significance and aesthetic value of China's new poetry, but just reflect the unique value and style of China's new poetry school.
China New Poetry School has a certain correspondence with foreign poetry schools and foreign poets with characteristics. The influence source of foreign poetry is of great significance to the formation of China New Poetry School. Due to the different sources of influence, different schools have emerged. Based on the tenet of "literature is life", the poets of the Literature Research Association mainly accepted the influence of the poems of oppressed nationalities in Russia and Eastern Europe and the rebellious consciousness and patriotic spirit of the Moro poets, thus regarded realism as "real literature" and formed an early school of realism. Guo Moruo prefers the English romantic poet Shelley. He said, "I love Shelley ... I am one with him." His poems are like my own. " (Introduction to Shelley's Poetry) Like Guo Moruo, other poets in the Creation Society also took Byron, Shelley, Goethe, Whitman and other European and American romantic poets as their sources of influence, and early romanticism was born. Li Jinfa, Dai Wangshu and others learned from the French symbolism poetry school, experienced early symbolism represented by Baudelaire, Willen, Malarme and Rambo, and turned to later symbolism poetry represented by Yemaier, Galmont, Valery and Ye Zhi, thus forming China's symbolism and modernism. The main sources of influence of the Crescent Poetry School are Wordsworth, Keats and Coleridge of the English Lakeside Poetry School. Prose School and China Poetry Society are mainly influenced by Russian proletarian poets Mayakovski, Ye Saining and Lapp School. The misty poets and the new generation poets in the new period are mainly influenced by the western modernism and postmodernism poetry trends. It can be said that almost all schools of new poetry can find the influence source of their foreign poems.
Of course, the source of influence is only an important factor in the formation of genre, not all factors. Moreover, the same source of influence will form different schools of poetry because of different perspectives and value orientations. The poets of Creation Society and Crescent Society both borrowed from European and American romanticism, but the former mainly absorbed the revolutionary and rebellious spirit of romanticism, while the latter mainly inherited the romantic praise of love and nature, as well as the quiet and mysterious artistic conception and color, thus forming the early Romantic Poetry School and Crescent School. Furthermore, as far as specific schools are concerned, they show the characteristics of universality, multidirectional and richness when choosing and accepting external influences. There is no school of poetry, no poet, only influenced by a certain school or a certain poem. They all adopt an eclectic approach, integrate various external influences and form their own characteristics. For example, Hu Shi, the leader of the vernacular poetry school, loves the influence of realism and imagism. What is more striking is that the disappearance of the original influence sources and the discovery of new influence sources will cause the division, disintegration and turn of the poetry school. Take romanticism as an example. After May 30th, Guo Moruo absorbed the nutrition of foreign revolutionary poems, claiming that "the romantic literary world has already become counter-revolutionary literature" (Revolution and Literature Creation Monthly, No.3 1 volume). He believed that revolutionary literature should be realistic, so he created two collections of proletarian revolutionary poetry, Qianfeng and Restoration. Mu Tian Mu was originally a romantic poet, but later he became a symbolic poet under the influence of French symbolism. During the "Left-wing League" period, he founded the Chinese Poetry Society with Pu Feng and became a revolutionary realist poet.
There are two main ways for China New Poetry School to accept external influences: one is to introduce from the East, and the other is to introduce from the West, and the media responsible for this introduction is international students. For example, Lu Xun, Zhou Zuoren, Wang Tongzhao and other students studying in Japan introduced realism, prompting the "Life School" poets to gather. Guo Moruo, Cheng, Tian Han, Mu, Wang, Feng Naichao and other students studying in Japan introduced romanticism, which promoted the establishment of the Creation Society. Hu Feng introduced romanticism and advocated subjective fighting spirit, which influenced some young poets to gather around him and formed the "July" poetry school. British and American students Hu Shi, Xu Zhimo, Wen Yiduo, Liang Shiqiu, Zhu Xiang and Lin introduced western romanticism, aestheticism and symbolism, and founded the Crescent School. French and German students Li Jinfa and Dai Wangshu introduced symbolism into China and formed symbolism and modernism. Ai Qing brought back a reed flute from colorful Europa, which made free verse with prose beauty mature. Although Jiang Guangci and other students studying in the Soviet Union in the late 1920s and early 1930s brought back proletarian revolutionary literature, which formed the trend of political lyric poetry, and lasted until the climax of political lyric poetry in the 1950s and 1960s, and had a wide and far-reaching impact, Soviet literature before the founding of the People's Republic of China was rarely introduced directly from the Soviet Union, but more often spread to China through Japan.
Second, the potential constraints of China's classical poetry.
The influence of western poetry on the school of new poetry in China is enormous and far-reaching, just like a big river surging on the ground, while the influence of China's classical poetry on the school of new poetry is potential and natural, just like an underground river flowing quietly, only occasionally jumping out of the ground when the conditions are right. For classical poetry, colleagues of the New Poetry School have gone through a rather tortuous road and are still exploring it. The early vernacular poetry school held a totally negative attitude, and the Crescent School put forward the idea of inheriting the tradition and creating new metrical poems. However, almost at the same time, the symbolism poetry school was blindly westernized, which fundamentally abandoned the influence of traditional poetry, while the modernism in the 1930s and the "July" poets in the 40s showed the inheritance and application of classical poetry in artistic spirit and poetic form. In the fifties and sixties, due to the advocacy of mainstream ideology, the whole. The new poetry in the early new period, whether realistic poetry or modernist poetry (such as misty poetry), has absorbed the influence of classical poetry in artistic spirit. However, in the middle and late 1980s, China began to westernize in an all-round way, getting farther and farther away from the tradition, which aroused readers' disgust, spurning and even angry condemnation, and the novelty was almost in a desperate situation. It seems that the development of new poetry school can not be separated from the nourishment of classical poetry. Because the genre of China's new poetry is inseparable from the fertile soil of its own nation, it has a natural and inextricably linked with classical poetry. Poets and readers of the same nation have roughly the same aesthetic psychological structure, which is passed down from generation to generation as an artistic gene and plays a subtle soft control role on people. China's classical poetry has a long history and is brilliant, and its artistic aesthetic value is by no means inferior to that of western poetry. Therefore, China's new poetry must make good use of this precious artistic resource, so that China's new poetry will be revived in the 2 1 century.
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