Study On Lu Xun's Old-Style Poetry And Its Contemporary Inheritance

Lu Xun wrote only a few old-style poems, but these affected widely and deeply during his lifetime and posthumously. Especially since the founding of PRC, Lu Xun's old-style poetry have been published, copied, recited, noted, interpreted and studied again and again. It is an observable phenomenon in the realm of literature and culture. Unceasingly publishing, researching and interpreting of literature works signify the dimension of acceptance, which are also the conditions and opportunities to become more influential. Following this train of thought, the author further studied the old-style poetry works, which was shadowed, refused or ignored in literature history. It is found that Lu Xun's old-style poetry influenced the creation dimension in conspicuous or inconspicuous way. Based on the verse genre analyis of Lu Xun's traditional poems, the article summarizes the inheritance in contemporary traditoanl poems from Lu Xun.This thesis falls into three parts. The first part mainly defines related concepts, explains the basis and significance of the category—Lu-style, and describes the basic characteristics of Lu-style. The second part mainly focuses on some cases, such as Xiao Jun, Hu Feng, and Nie Gannu, who are the disciples of Lu Xun. Via the cases, the author explored the influence of the Lu-style to the old-style poetry creating from 1950s to 1970s, and inquired the aspects and reasons of accepting Lu-style. The last part takes old-style poems of the new schools such as "Erliutang", "Lingnan Poets", and essayist school as examples, studies Lu-style's influence to the old-style poetry creating since 1980s.The first part is made up of Chapters 1,2 and 3. In chapter 1. Based on the stylistic theories of China and western countries, the author analyzed the various definitions of style, made sure when and where the category of "style" ought to be used, and briefly narrated the relations between literature style and poetry style. What's more, the author also narrated the historical basis, text basis and research significance of Lu-style. In chapter 2, the thesis mainly summarizes the basic features of Lu-style, such as plant imagery, long-night imagery and their implication of loneliness, essay-like poetry style, argumentative composition structure, social metaphor of scenery and the internal critical spirit. In this chapter, via digesting the texts, the author analyzed the historical material and discussed the basic features of Lu-style concretely. In chapter 3, the author compared the Lu-style with the poetry tradition of China, analyzed the relation between Lu-style and literal tradition, and briefly summarized the history of Lu-style in inheriting and variating.Part 2 is made up of chapters 4,5, and 6. In reference to old-style poetry by Xiao Jun in his early period, Chapter 4 analyzes the historical background and main reasons for Lu-style affecting XiaoJun's old-style poetry works from 1950s to 1970s, which accepted Lu-style. Making use of the imageries and verses of Lu-style, inheriting the loneliness of Lu-style are the main aspects of accepting Lu-style. Chapter 5 focuses on the Lu-style's influence to Hu-style classical poetry. Using the rhymes of Lu's poetry, internal form of chain antithesis verses, and the strong loneliness in poetry signifies the influence from Lu-style. Chapter 6 deduces that Lu-style influenced Nie-style, the self-deprecation of Lu-style is manifested in the eminent "Laboring Poetry" of Nie; Nie-style inherits the Lu-style in forms; Nie-style's loneliness inherits and varies from Lu-style. Any influence is not passive acceptance, and any acceptance is selective. Lu-style's influence to Xiao Jun, Hu Feng, and Nie Gannu is identical in some aspects, but different in other aspects. It is a kind of complicated acceptance. Different acceptors accepted Lu-style according to different context, tradition and interactive relations.The last part is made up of chapters 7,8 and 9. Chapter 7 focuses on the inheriting of Lu-style by Erliutang School, of which Huang Wu, Huang Miaozi, and Yang Xianyi are the representatives. Chapter 8 focuses on the acceptance of Lu-style by Lingnan Poets School, including Li Rulun, Xiong Jian, and He Yongyi,etc. Chapter 9 focuses on the relations between Lu-style old poetry and that of Essayists, who are Shao Yanxiang, Chen Siyi, etc. These 3 schools had much in common in accepting the Lu-style poetry. Their poems inherited the feature of essay-like verse in Lu-style poetry. Their verse style, poetry structure, and critical spirit inherited from Lu-style and developed it.The history of Lu Xun's old-style poetry penetrated in course of the readers' reading-acceptance, critics' interpreting-acceptance, and the author's creating-acceptance. Because of the individuality in creating, and indirectness in expressing, compared with the unique form in the history of interpreting and accepting of old-style poetry, creating dimension's accepting history takes on a multidimensional look. This strongly manifests the complex and hidden interactive relations between acceptors, contexts, and styles.