Composing The Poetry Synchronicity

Luo Yihe and Hai Zi, whose death ended the so-called poetic decade of 1980 s, were outstanding poets in contemporary China. The main object of this thesis is to research Luo Yihe, his poetry and his poetic theories, also the common characters which concern with contemporary poetics between Luo Yihe and Hai Zi.Luo Yihe, a poetry theorist and an editor as well as a poet himself, was an influential figure in China?s contemporary poetry is his time. Luo?s poetic works and theories, with strong thoughtful power, were characterized by both eagerness for the renewal of Chinese culture and insightful perceptions on history and reality. His own spiritual growth represented the ordeal of developing from a blade of grass into a hero on the heavenly path. Back from the naive nature of boyhood, when beauty was found in water, plants and women, the poet gradually moved towards a wider world where he ultimately achieved the religious “uncaused love”, thus lifting his soul to the height of “existence in innumerable forms”. During his journey along the heavenly path, the poet finally fully demonstrated his “broad mind” while the “splendid landscape” in his poetry gradually unfolded.Hai Zi was guided by Luo Yihe with whom he broadened his poetic vision and aroused his poetic ambition at the very start. The two shared much spiritual common grounds in poetry, interacted each other in many aspects of their thoughts of poetics for long time. Many of their works were highly relevant and comparable. However, they have stark differences in personality, spiritual belief, values, poetic mental image and writing methodology. Therefore, their writings, with respective advantages and disadvantages, can tolerate neither willful equation nor mutual replacement. In fact, it was their differences that created the foundation of their interaction.The poetic works and theories of Luo and Hai Zi showed unique talent and originality in Chinese poetic circles in 1980 s. They also embodied the complex and close relations of China?s contemporary poetry with modernity and western modernist literature. On the one hand, in spirit of “take-ism” to other cultures, they drew upon modern sensibility, modernist techniques, language consciousness and aesthetic concepts. On the other hand, they always held a suspicious attitude towards the linear development view on literary history, that is, from classicism to modernism to post modernism, and were totally disapproval to some post-modernist?s concepts, like “decentralization” and “fragmentation”. What they supported was the romanticist subject spirit and will of life as well as the poetic expression of native experiences. When it comes to widely acknowledged binary opposites, like classicism/modernism, romanticism/modernism, heroism/democratic awareness and global perspective/ native awareness, the two provided explanations featuring dialectic wisdom with an unique thinking pattern, notably Luo, which were finally integrated into Luo?s self-invented aesthetic concept “Poetry Synchronicity”. Such thoughts not only show their independent reflective ability but also can serve as critical driving forces to lift contemporary Chinese poetry out of the above-mentioned puzzle of binary opposites.