Research On The Modern Chinese Functional Words And Modern Chinese Poetry

A large number of modern Chinese functional words came into poetry, which is an important feature of the transformation of Chinese poetry from ancient times to modern. In the development of the whole pattern of Chinese poetry, functional words as a special part of speech have played an important role in the occurrence and development of the language of modern Chinese poetry, the new configuration of poetry’s thought and form and aesthetic taste. My thesis discusses this topic mainly from three aspects:the functional words and the occurrence of the language of modern Chinese poetry, the aesthetics of functional words in modern Chinese poetic texts and the function of functional words of modern Chinese poetry. The aim of my research is trying to illuminate the relationships between the transformation of language and form of modern Chinese poetry and the functional words of modern Chinese.The first chapter deals with the relationship between the functional words of modern Chinese and the occurrence of the language of modern Chinese poetry. Under the historical background of the reforms of the scientific and democratic thought, ideology and culture, as well as the aesthetic appreciation of literature, modern Chinese functional words came into poetry, which was based on the Chinese language of modern vernacular and the system of modern Chinese grammar which draws lessons from the system of Europeanized grammar. This made the transformation between language thought and poetic concept of the "language oneness with speech"(“言文合一”). The proliferation and proper use of functional words in modern Chinese poetry has direct relation with the prose of poetry language, deconstructs the strict norms form of poetry and metric in ancient Chinese poetry, creates the conditions for the a new free verse forms of modern Chinese poetry and the configuration of a new rhythm, and adapts to the multivariate cultural symptom and aesthetic needs.The second chapter to the seventh chapter of this paper focuses on the classical poets and works in the history of modern Chinese poetry, elaborates the relationship between the functional words of modern Chinese in modern Chinese poetry and the form of modern Chinese poetry from different aspects. The second chapter explores the relationship between the functional words of modern Chinese and the construction of the form of new poetry in Hu Shi’s Changshiji (《尝试集》).The literary history’s significance of Hu Shi’s Changshijii(《尝试集》) lies in the liberation of poetic style, which has a close relationship with functional words that come into the modern Chinese poetry. Changshiji (《尝试集》) use a lot of functional words in modern Chinese poetry, changes the inherent rule of combination of language in ancient poetry, contributes to the transformation of the new system of expressive grammar and thinking mode in Chinese poetry. Modern Chinese functional words come into poetry which is an importance way to the practice of new poetry of Hu Shi’s "poetry as an important way for composition". This looses and deformates the order and rhythmic sentences of ancient poetry, influences the formation of style of modern poetry. At the same time greatly it changes the speech rhythm and intonation rhythm of ancient poetry, and has an important role in the construction of modern poetry syllable which effectively promotes the transformation of poetic style of new poetry on the whole.The third chapter is concerned with the use of functional words and its aesthetic effect in Guo Moruo’s "Goddess". The history of literature significance of Guo Moruo’s "Goddess"(《女神》) lies in greatly promoting the modernistic change of poetry aesthetic effect. This change has a close relationship with functional words that come into the modern Chinese poetry, which changes the expression of emotion and the thinking mode of ancient poetry, contributes to the new subject spirits in modern Chinese poetry. Functional words that come into the modern Chinese poetry makes the writings of Guo Moruo’s romantic passion fully express in the way of the change of frequency combination of functional words, the list of noun phrase, the flip and repeat of verse etc., which is greatly contributed to the configuration of free verse form of "Goddess"(《女神》). At the same time, function words and rhetoric figures both make the poetic emotion more fluid and changeable, which is a morphological mark of prominent of the new aesthetic taste in Guo Moruo’s poetry.The fourth chapter is devoted to analyze the relationship between functional words of modern Chinese and the formation of the rhythm poetry in Guo Moruo’s "Goddess". Guo Moruo pays attention to the practice of the emotional rhythm of "internal law", and realizes the interaction between emotional rhythm and semantic rhythm with the using of overlapping applications corresponding to a large number of particles and the preposition structure. The rational using of functional words constitutes the language rhythm of a flexible type, balance and cyclotron progressive, which promotes the indulgence and convergence of emotional rhythm. At the same time, it also changes verse’s light and stress accent and the lifting of tone and voice, and makes the change of tone form with a form which is full of a lot of exclamatory and the rhetorical question sentence. A repeated use and rhyme feature of the final sentences’ particle brings the modern rhythm. With a large number of functional words,"Goddess" adjusts to the elements of the delay, pause and limbic of natural syllables, and cooperates with the emotional rhythm and semantic rhythm, which brakes the metrical form fixed in traditional poetry, forms a new form of open and multiple modern rhythm.The fifth chapter discusses the functional words of modern Chinese and the "meditational" traits of Feng Zhi’s poetry. The "meditational" traits of in Feng Zhi’s "Sonnets"(《十四行集》) have a close relationship with the functional words coming into modern Chinese poetry which is established on the prose’s becoming of new poetry. Feng Zhi’s poetry pays attention to the beautiful form and the natural tone, Feng forms the prominent of a flip form and the phenomena of chain and partition of cross line cross section through which the rational use of the functional words adjusts the changes of simple and complex sentence which come from the expansion, ellipsis or concentration of verse. Feng Zhi’s "Sonnets" prefers using prepositions and conjunctions, corresponding effectively to the performance of the rich thoughts and complex empirical of poems. Feng Zhi exploers the verse and stanza of modern poetry with associated words which enriches the relationship of grammatical structure of modern Chinese poetry’s language, expands the connotation of modern poetry’s language, opens up the ideographic space of modern Chinese poetry, and highlights the observation and reflection of the real world for the spirit of modern poetry subject by the poetic thought of convolution, bold and unconstrained.The sixth chapter elaborates the ambiguity of Mu Dan’s poetry language in the perspective of functional words. Mu Dan s’poetry which come into a lot of functional words, constitutes the hierarchical relationship between complex sentences, abstract words and the logical processes of jumping thinking, extends the intellectual connotation of poetry, expresses the complex thought and emotion of poet. At the same time, Mu Dan’s poetry has certain color of translation which integrates functional words into the Europeanized sentences in a certain extent. This breaks fixed Chinese word order, demonstrates fully the ambiguity of modern Chinese poetry language, and reflects deeply the modern life experience and aesthetic feeling of the subject of poet.The seventh chapter deals with the modern Chinese functional words and the prose validity in Ai Qing’s poetry. The functional words in Ai Qing’s poetry are his choice in purchasing the poetic form of "prose" verse, which realizes the excellent connections between foreign form and national style in the exploration of a new free poetic form. The use of functional words in Ai Qing’s poetry makes the lines in different lengths and sentence in diverse patterns. Especially the extensive use of prepositional phrases and auxiliary function, such as collocation between modifying nouns and verbs, and collocation between verbs and auxiliaries etc., can better realize the lyric validity of prose beauty in Ai Qing’s poetry.The eighth chapter is the study of function of functional words in modern Chinese poetry. In the aspect of narrative, a lot of functional words come into poetry, which has played an important role in the narrator, narrative content and spatial-temporal relations. A lot of analytic, logical narrative languages’ coming into modern Chinese poetry, which influences the tendency of prose of poetry, changes the underdeveloped phenomenon in the ancient narrative poems, and promotes the development of narrative function in modern Chinese poetry. In the aspect of philosophy, the rational use of functional words makes the language of poetry become more logical and multi-level, and especially the use of the conjunctions expands speculative and philosophical connotation of poetry. The connection of a large number of abstract and concrete words, and the use of a large number of conjunctions, prepositions and adverbs, constitute the ideographic relationship of modifier and modified, limited and restricted, and expand the intellectuality space of poetry. In the aspect of rhythm, a lot of functional words’ coming into poetry makes modern Chinese poetry breaks through the traditional poetry form, shapes a new foot division, combination of voice and free rhythm. It also brings about changes in the sentence, function, form and stress in the language flow, affects the construction of rhythm in modern Chinese poetry which has played an important role in the formation of the rhythm of modern speech, language, emotional semantics, semantic and physiological and so on.In short, the proliferation and proper use of functional words in modern Chinese poetry greatly enhances the composition of grammar of modern Chinese poetry become complicated and fine, and makes the semantic relations of poetry language tend to abundant and complex, and shapes the aesthetic taste and modem art’s aesthetic style of free, changeable and novel in the aspects of poetic form, rhythm, rhetoric and poetic and so on.