| Tragedy, an exotic notion to China, was first introduced at the early 20~th century. As a foreign Literature conception, tragedy went through a rough developing course in the past one hundred years, especially considering that China had been in a transitional stage in the 20~th century. The entire research about Chinese modern view of tragedy began with the debate of tragedy in the 70s and 80s of the last century. These researches mainly committed to period of the first part of 20~th , if we halved the 100 years into two parts. Even some treated of the second part, more often they were just on the surface. While this was mainly caused by two facts, one is distinguishing of modern and contemporary in literature, another is probably because of that no great masterpieces or theoretic creations appeared. As a literature notion, actually, with reverses, Chinese modern tragedy, on the whole, was developing all the way. It was mainly about the apparent theories, forming, extending and establishing some conceptions before the P.R.C founded, while, after that it was more thoughtful to some degree. A latent flow of ideology, which was deepening, integrated into it in this period. From my point of view, Chinese modern tragedy, being effected by western tragedy, evolves a style of its own, which is different from Chinese traditional sorrowful drama. while, "modern", in the concept of "Chinese modem tragedy", is more accurate to be explained as a compartmentalization of property than a demarcation of time.This article focuses on the whole course of tragedy from being introduced in to being established in China in 20th century. We'll discuss its history and some linking phenomena, finding the evolution process of the notion of Chinese modern tragedy and its basic state, as long as its holistic characters in analyzing its history. We'll take a look at some influential and representative views or works in the past, choosing Cao Yu's works of pathos, which are the milestones of Chinese tragedy, and Guo Moruo's historical tragedy works, which are signals of tragedy developing, to discuss in a chapter specially. We'll not only analyze its style and characters of forming, but also reveal the ideological root and inevitability of being one-track, unbalanced finally, after the notion formed. Through these researches the forming and developing process of Chinese modern tragedy can be more clear to us. We'll summarize its status and theoretical features in different phases, extract the main track of its evolution and chief factors that influence it. We'll also anatomize the effects of them and results led by them in order to find a way to modernize Chinese tragedy, which is the real target of my research.According to spiritual features of tragedy and its development in China, I think studying ofChinese modern tragedy as a notion is more sensitive to domestic reality than viewing it as a pure theory, and it is easier to discover some problems, additionally. Though literature conception usually contains in a writer's works, speeches or opinions associated, or comments of critics, it is beyond them by a sense of metaphysics. This conception can reflect culture's diversity of its time, freedom degree of individual characters in human and independency of people's mind. While discussing the notion concretely, this article also makes an effort to analyze problems of tragedy emerged during its evolving in China at cultural and ideological level, which is the deeper spiritual aim of my article. Tragedy should not be considered as only a literature work. It commits to finding ultimate survival of human and meanings of life being. Actually, struggling and surmounting in tragedies show the spirit of independent human subsistence. Therefore, compared to the influence of traditional literature and epoch tendency, an open and dynamic thinking, which is multidimensional, especially the training of writer's profound subjective consciousness and spirit, is thought to be more decisive in Chinese modern tragedy developing.
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