| "French Symbolism", the poetic movement blossomed during mid-late 19th century, had brought a powerful new force into China's literary world since it was introduced to Chinese readers around 1920s. Inspired by its influence, a notable group of Chinese symbolistic poets appeared soon after, and by various means had bestowed some "uniqueness" into the form of Chinese "New Poetry". However, due to the heterogeneity of its theoretical basics and the complexity of its constitutional factors, it was never a smooth path for French Symbolism to get across on its way to be accepted by Chinese readers. Through the years, symbolistic poetry has experienced several ups and downs in the development of Chinese literature, but whenever Chinese poets attempt to fully get to the "enigma" inside of it, it almost always ends up with an "unfinished romance".Therefore, this thesis here tries to analyze the foreign factors in some typical Chinese symbolistic poets' works (mainly three: Li Jin-fa's, Dai Wang-shu's and Ai Qing's), from four perspectives of theme & subject, image & emotion, syntax & rhythm, and rhetoric & theory. The imitation and inheritance of these factors by Chinese poets are also studied to explore the "enigma-like" symbolistic poetry's progress of acceptance, orientation and future development in China, by means of discovering the inner rules to mix the foreign factors and cultural traditions together.First of all, Li Jin-fa, as the "No.1 Symbolistic Poet" appeared in China, has made his way to "transplant" French symbolism into Chinese new poetry by literally "copying" all the foreign factors in his own writings. In his poems, no matter it is concerned with the theme on "ugliness" or "death", the gloom of images and emotions, or the flexibility of rhythms, the theory and practice of "correspondence", many similarities can be found with specific examples in Baudelaire, Verlaine, or Mallarme's works.Whereafter, Dai Wang-shu comes forth to promote Chinese symbolistic poetry...
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