On The Poetic Sense In Personal Language Space

Since the concept,"hidden writing"was brought forward and remarkable pieces of word such as The Underground Literature of the Cultural Revolution by Yang Jian were published, underground literature (which is the major part of hidden writing) attracted much attention from the academic circle. Some writers and their works have been recognized as part of literary history, or have been noticed and studied by scholars. However, there are problems at the same time. On the one hand, there has not been specific study about the literary status and writing of the underground poetry. It has been recognized as part of literary history (most for its influences in literary history and intellectual history), but there is no profound and meticulous study about its artistic features. On the other hand, in literary history, underground poetry is only mentioned in the discussion of new Chinese poetry after the Cultural Revolution and"the returnee poetry", and it has not been put into its historical background and compared with other poems in a synchronic way. Therefore, we can hardly make correct and object judgments the literary achievements of the whole era, which is also to the detriment of the integration of literary history. Last but not least, some poets and their works are still neglected, not being recognized as achievements in literary history. However, their poetry and the phenomenon of their poems are meaningful to a certain degree. For example, the works of Beijing poet, Hui Wa, and the creation of Shanghai poets, Chen Jianhua and Qian Yulin deserve their own status. Only when these problems are solved, can we make our modern literary history clearer, more complete and more reasonable.This thesis is based on specific literary contexts and takes into consideration their cultural and social backgrounds, and the personal experiences and thoughts of their authors. In order to analyze the artistic features of underground poetry, the contexts are put into their historical background to be studied through some beneficial diachronic and synchronic comparison and contrast. The thesis is divided into three parts:The first part focuses on analyzing the toughness of life in distress and the introspection and resistance therefore generated, which the underground poetry has shown. The first part concentrates on the poetry exiled poets. For those poets, their destiny is characterized by tribulation. Nevertheless, this produces special effects. On the one hand, although they have suffered dramatic changes, they have never allowed themselves to degenerate into emptiness and desperation. What they have done is to express their pain in poetry, holding on to their belief, rethinking their time, and obtaining precious wisdom. Moreover, a splendid aesthetic quality has been formed thereby. On the other hand, while their miserable life has deprived them of the right of writing, they have been given a chance to get rid of the mainstream writing. They have been able to start to create poems from their unique perspectives and in their special language styles. Thus excellent poems, such as Reread Bible by Lv Yuan, Autumn of Tuan Bowa by Guo Xiaochuan, The Transformation of God by Mu Dan and so on have come into being. Those poems are artistically improved than their counterparts previously written by the same writers.The second part mainly deals with the disillusionment and rebellion which the underground literature displays, with a focus on the poems of awakened young poets. Compared with the exiled poets, whose resistance is mainly against their own inner world, the young poets are confronted with the ridiculous time and society. The exiled poets have improved their literature skills while the young poets have created a poetic style which can describe the specific time more effectively. This has started the new Chinese poetry. As a result, great poets of modern poetry, such as Shi Zhi, Bei Dao, and Duo Duo have come to the public from that time; prominent poems such as Believe the Future, An Answer, and March and the End have been created.The third part is mainly about the romantic and melancholy angle of aesthetics of underground poetry, which has not attracted much attention from scholars and readers alike. It also deals with the enlightening road embodied in the poems of Huang Xiang and other poets. During the Cultural Revolution, there are two schools of poetry, the mainstream poetry and the underground poetry. More importantly, there are different schools within the underground poetry. The underground poetry is not all about disillusionment and resistance. There is another kind of perspective. For instance, poets such as Chen Jianhua have consciously avoided politics and written about romance and melancholy. Both the non-political poetic endeavors and special display of misery and melancholy of such poems are unique and have their own aesthetic values. It is meaningful to meditate on the reason why such poems were covered and neglected.All in all, the poets of underground poetry have honestly presented their unique life experiences, enlarged their personal linguistic space with difficulty, and succeeded in creating high level poems with precious artistic values. Form the artistic and ideological perspective, those poems are the most important literature treasure in the decade of Cultural Revolution. They should not only be included in the literary history, but also become the main part of the Cultural Revolution literature.