The "Sentiment" Of Li Guangtian’s Proses

In the 1930s Li Guangtian created a series of lyrical proses both artisticly and thoughtfully, and became the lyrical prose boom peak, so far it is still concerned by many critics. In the 1940s, his eyes slowly turned to the broad social livelihood. Meanwhile his proses lessened a little of fantasy ingredients which was common in his early days, and added a lot of practical factors, and became really tough, so got less attentions than early days. In view of this, previous researchers have considered the proses Li Guangtian wrote in 1930s different from those written in 1940s, and two creative stages were studied separately.Li Guangtian presented the concept of "sentiment" in an article about literature and art, which involved in many items of basic propositions in foreign literary theories, and also naturally fitted with the prose’s style properties. In fact, his own writtings, consciously or unconsciously, became the self-interpretation of this view. With this new open viewpoint, we consider his proses in 1930s and 1940s again and find out an invisible bridge hidden between them, which bring them into a harmonious whole.From the surface of texts, the sentiments in Li Guangtian’s proses of 1930s and 1940s exhibit two "irreconcilable" extreme states of affairs. In Li Guangtian’s prose "feeling" of the text appearances in 1930s and 1940s, the 1930s’ love to the native land differed much from the 1940s’ love to the motherland. In Li Guangtian’s prose "tone" of the text appearances in 1930s and 1940s, the 1930s’ complete melting melody gave way to the 1940s’ indignant tone, reversing the order of primary and secondary, as a result, the "tone" of inward poetic quality and the "tone" of outward energetic quality appeared alternately in the two periods’ proses of Li Guangtian.Elaborate text parsing demonstrates the formation mechanism of Li Guangtian’s prose writing. That he turned to the "public art" route in 1940s after vigorously writing "non-standard essays" in 1930s, in essence, accords with the free characteristics of the prose style, and inadvertently follows the natural evolution course of the Chinese modern lyrical prose.Behind the complex sentiments in Li Guangtian’s proses of 1930s and 1940s there is a deep self-flagellated soul, a ideological trajectory of a generation of intellectuals, struggling to pursue. From heart-exploring in 1930s to crying-for-light in 1940s, that as a link bridge is Li Guangtian’s footsteps like a passing-passenger who is always seeking. "From the sense of always pursuiting of beauty and personal style, he is more like a conscious prose-artist and a style-writer than He Qifang, and his influence lasts longer. In generally speaking, he harvests more abundantly, and succeeds greater. "...