Research On Chinese Modern Leftist Romantic Poetry

The modem left-wing romantic literature in China is a concept that consists of left-wing discourse, which is proletarian revolution discourse, and romantic thought in literature and art. These two elements of the concept are combined together as one specific literary form in a certain period of time, mainly in the political and cultural context of the late1920s and the early1930s. The combination of the modern Chinese romantic literature ideological trend and left-wing political discourse in the second decade of new literature indicates a historical inevitability. The modern left-wing romantic literature appears in this environment certainly contains dual characteristics of left-wing literature and romantic literature. However, the left-wing political discourse is quite powerful and realized by the distortion, transformation and even complete shrink of romantic literature. Thereby, the dual characteristics of the Chinese modern left-wing romantic literature are not the simple composition of the two discourses. On the contrary, they exist as the transformation of the left-wing political discourse on romantic discourse. The result of the transformation is the replacement of "I" based on individual subjectivity with "we" based on national subjectivity, mainly class subjectivity. The left-wing romantic writers deny the individualism and creative personality indiscriminately in self-criticism and denial again and again. They lose sincerity of emotional experience and the freedom of individual soul expression. Hence, a large number of left-wing romantic writings are gradually reduced to revolutionary optimism or revolutionary heroism which is used to incite revolutionary passion. Finally they step into the abyss of pseudo romanticism.However, when the left-wing literature just rose at first, the two discourses of the left-wing politics and romanticism are not combined together in real sense. That is to say the left-wing political discourse is not ready yet to transform the romanticism powerfully and comprehensively. The poetic disposition of the left-wing romantic writers and creative personality are not strictly restricted by power discourse. In this situation, the balance beam between the left-wing politics and romanticism temporarily tilts toward the latter. The existence of the new revolution opens a space for romantic writers to express themselves freely. A lot of left-wing romantic writings appear at that time with lyric subject based on individual "I" and true expression of the multi life experience. The colorful and polybasic emotional world of the individuals with the dual identity of the revolutionary soldiers and romantic poets is presented for us. These writings are undoubtedly precious in left-wing romantic literature.This dissertation mainly studies the classic left-wing romantic poems before the anti-Japanese war in the middle and the late of1920s. Through thorough interpretation of the representative texts, it sorts out two categories of excellent left-wing romantic poems. In one of them, the lyric subject is the individual "I". The other type is the one with the dual lyric subjects of the individual and the group. It carefully examines, probes, and summarizes the existing form of individuality, especially the individual emotional expression paradigm. By doing so, the diverse emotional world in the two categories of the left-wing poems is well clarified. In addition, this dissertation has a systematic academic research on the image system of left-wing romantic poems. Hopefully, the romantic quality of the modern Chinese, left-wing romantic poems is defined from the two dimensions of the individual subjectivity and imagination. The real position of it in the development of the modern Chinese left-wing literature and romantic literature is restored. Jiang Guangci is the pioneering poet in modern left-wing romantic poems. The significance of individual typology and his success and failure in poetic composition are helpful in investigating the soul of revolutionary poets and the real mode of left-wing poem in its initial stage. As a classical case, the study on him is developed into one single chapter aiming at achieving a better rational understanding of such kind of ill-fated poems, together with the perfection in the research of the present left-wing romantic poems in China.