A Study Of Wu Hsinghua’s New Poetry Modality

Wu Hsinghua is a brand new star in the History of Chinese Contemporary New Poetry research.Obviously,he used to be the missing in the history of Chinese Contemporary Literature in the past few decades.Since 20^th40s and 50s,the study of Wu Hsinghua has been proceeding in the academic community.His creation of new poetry then could be found,which impressed a great number of people and was considered as a neoclassical poet.The works of Wu Hsinghua had its distinctive modality.This paper is based on the achievements and new findings of the research,and the study of modality could be arranged thoroughly.Five parts has been arranged in this paper.There are three parts in the preface:the overview of the study of Wu Hsinghua’s new poetry,the study of modality of his works in the internal academic community in recent years,and the space of the study of modality.The expounding of the first part is about the modality of isologue and its own meaning.The phenonmenon of the isologue is very common and there are three aspects refering to it.Firstly,the isologue of the writer,poet,narrator and text;secondly,the isologue of myth and tragedy context;thirdly,the isologue of the tradition of Qu Sao and western doctrinal literature.All these aspects reflects the feeling of missing some fortunate things and the beloveds in his works,which indicates the notion of value relying on the aspiration regardless of death,the respect of order,the relying on classic wistom and the reverence for life.On the other side,the close connection between the phenonmenon of isologue and the versification emphasizes the classical meaning and modality of his works.The expounding of the second part is about the character of versification and its guidelines in his works,which shows the symmetry versification.The two guidelines indicate the transplantation and transformation of classic poetic modality,which try to recover the vocal symbol in the Chinese language system.The close connection between sound and feelings,rhythm and versification could be used for making a bridge between the writer and readers.The aesthetic experience could be produced when readers understand the versification of his works.Relying on the versification,readers can understand the feelings inside,which shows the final purpose of the writers’creation.The expounding of the third part is about the notion of his new poetry.On one side,the notion of the neoclassical modality shows that the classical literature resource can be found relying on the transplantation and transformation of classical poetic modality.And classical aesthetic experience and classical world can be produced and found when readers understand the versification and content of his works.On the other side,the notion of internal and external versification shows that the research and devotion of the new poetry versification by those poet in north China,on the condition of making bridge between tradition and modernism,is of great significance in the history of Chinese new poetry.The expounding of the fourth part is about the character of language of his new poetry.On one side,the tension between written language and spoken language shows that new poetry language is totally different from the popular language and spoken language.He emphasized the new poetry language should be independent and specific,then the new poetry could be distinct from other literary form.On the other side,the tension between classic and modernism shows that the tradition and modernism of Chinese and Western literature should be found in the new poetry.Thus,the transplantation of traditional allusion indicates that the europeanized ways of sentence is of great importance.