Survey On The "Modern" Poetry Creation Before The War Of Resistance From The Aesthetic Psychological Angle

The"modern"group of the 1930s is an important and complicated poem school at the history of the Chinese new poetry. Their poems differed from the prevailing masses poems and couldn't be understood with political intonation. The poets had nearly totally individual inner world and aesthetic pursuit. From the development of whole new poetry, if it can be thought that "the May Fourth Movement" poets had attempted to set up new poetry standard through breaking traditional poesy, the " Modern" poets, enlightened by western modernism, were making great efforts to establish new foundation for poetry with more rational attitude and open vision.This article attempts to perspect the complexity of the "Modern" poetry creation from the aesthetic psychological angle and it can be divided into three parts:First, the start of the personal lyric space in the "pure poem" .It is the key that make the "Modern" poetry differ from the contemporary masses poem and is the foundation of latter analysis. The point that this text try to clarify emphatically lies in: It is the poets' innate introversion and gentle aesthetic mentality, not the blow of revolution failure and not the particular attention to art, that made them choose personal lyric space. And then this article sum up three aesthetic characters of the "Modern" group from content to form: Autobiography with lyrical subject; omnipresent of "I" between monologue and dialogue; confidence under prose type. In the last part of this chapter, we point out it's value under the background of the 1930s and the phenomenon of their lack of aesthetic.Second, the lyrical tactics between displaying and hiding themselves. It was usually analyzed through image and image jumping, which were the most outstanding tactics used by the poets indeed. But we are unwilling to overlook individual special value only for the common of group. Bian Zhilin brought the "Modern" group another complicated lyric tactics with his work's unique voice, to interrupt "my" lyricism, make it showed dramaticismly and add up poem's inner levels. It is dialognism. As supplement, we also analyze Bian's work "Spring City". We think that the whole poem is unified into one subject's voice "I" and isn't divided into pieces like Eliot's"Wasteland". At last we summarize Bian Zhilin's thinking characters and the reason that he was ignored.Third, traditional basis and modern aesthetic elements. The poets' aesthetic properties were totally included into tradition, or regarded as resistance to tradition, or merged into Chinese and Western by the most scholar. From aesthetic psychological angle we hold that: Their poems came to gentle lyric ways, implicit aesthetic pursuit, still philosophy like Lao Zhuang and "Yi Jing" ideal; they couldn't go out of their own tradition and enter western culture at all, though they were more traditional than "Chinese New Poetry". At the same time, they couldn't refuse the influence of the modern life to go back to ancient aesthetic culture any more. Under the background of Shanghai as typical city and a burst of science rational wind, they were putting some modem aesthetic factor into poetry creation.