Tang Shu's View of Poetry Criticism

In the history of modern literary criticism in China, Tang Shu is a name rarely mentioned, but he is indeed a brilliant critic. His criticism is very ambitious: "I admired Mr. Liu Xiwei's demeanor, Mr. Hu Feng's heroism and Mr. Qian Zhongshu's accomplishment at that time, but I hoped that the two would merge seamlessly." It should be said that Tang Shu was already very close to this goal. Mr. Qian Zhongshu once praised Tang Shu's criticism that "it can imitate Mr. Liu Xiwei's drunken words and have the outline of' according to you'!" Tang Shu officially entered the evaluation forum on 1947. This year, Wu Zixu, a critical article by Tang Shu, was published in Volume 3 of Renaissance magazine 1. The article thinks: "In the ancient legends of China, Wu Zixu's story has some gorgeous romantic colors. After the rendering of the poet Feng Zhi and modernist poetry, especially the rendering of stream of consciousness or inner feelings, it has become a complete and transparent poetry fruit. " It was rare to appreciate a novel's "modernist poetry" in this way at that time. Tang Kun not only saw the modernist tendency of kuya's poetry, but also saw the modernist tendency of July's poetry. Tang Kun called them "the new generation of poetry", and thought that the poets represented by Mu Dan and Du Fu were a group of conscious modernists, Eliot, Auden and Spander were their private lovers, while the July poets represented by Luyuan were Mr. Lu Xun's private lovers.

Tang Shi insisted on modernism and applied the concept of modernism to literary criticism. His criticism not only filled the blank of modernist criticism in the 1940s, but also represented the standard of modernist criticism in the 1940s. As far as the criticism mode is concerned, Tang Shu inherited Li Jianwu's impression criticism, but it was different. Impression criticism emphasizes the critic's subjective feelings towards the object of criticism, declaring that "what I criticize is only myself"; Tang Shu's criticism has subjective feelings, but his purpose is not to express himself, but to be close to the object. Because of his rich modernist poetry creation practice and the exquisite artistic feeling ability brought by it, his criticism is not "fragmented". He can find the strengths of critics and point out their problems. When criticizing, you always dive down to watch in the author's style, and often you can grasp the characteristics of the object and enter the "heart". For example, Mu Dan's "victim temperament" and Chen's "integration of male flavor and female style" are felt in his poems. These feelings have been recognized by researchers and critics. He found Du Fu's poetic images rich, but at the same time he found that the author was unable to deal with complex themes, and some poems were "anticlimactic". His discussion of these specific poetic techniques is very professional.

Although Tang Kun did not fully realize his ideal of criticism, he participated in the operation of modernist poetry in the 1940s through literary criticism, developed the theory of modernist poetry criticism and wrote an important page in the history of criticism.