Norms, Subjectivity And Construction Of Verse Forms

May 4th period (1917-1927) was the initial stage of Chinese new literature including Chinese new verse. It is in this period that Chinese poetry had undergone a thorough change. New verse writers, after a complete break with classical Chinese poetry, cast their eyes to foreign poetry and constructed the self by drawing upon the other. Poetry translation had played a vital role in introducing both the content and forms of foreign poetry. It is of great significance to investigate into Xu Zhimo's poetry translating practice to find out how Xu's poetry translation had contributed to the construction of new verse. Non-versification prevailed both in creative writing and translating after the deconstruction of constraints of literary language and metrical patterns. The change from non- versification to the construction of poetical form among young poets can be examined and the paradox in seeking modernity revealed. Consequently, the subtle interaction between translated literature and home literature can be depicted.This thesis tries to explore Xu Zhimo's poetry translation in the context of May 4th cultural background in light of system and norm theory. Chinese new verse broke with classical Chinese verse in a resolute way due to the radicalism in May 4th Movement. Therefore, no poetical resources can be resorted to except those in foreign poetry. Translated poetry served as models for poetry writing and imitation of both the content and form prevailed. The norms of translation are source-oriented. The norm of"faithfulness"re-established, vernacular language used, line arrangement of lines in foreign poetry transplanted, Chinese new verse developed by drawing upon foreign literary resources. In the aspect of choosing sources of translation, there was some difference which reflects different pursuit of value. When it comes to translating rhyming patterns of poetry, different attitudes also appeared. The consensus upon the idea of"verse does not necessarily need rhymes"intensified the non-versification tendency. Both in poetry writing and translating, most poets turned to versification and orderliness in the late 1920s. Norms of poetry translation revealed the thesis deals with Xu's translation thoughts, sources and strategies of translation and tries to examine Xu's contributions as objectively as possible. The modernity in Xu's translation thoughts can be reflected in his views on the role of vernacular Chinese, form and content of poetry translation. The notable multiplicity and romantic tendency in choosing sources of translation is the outcome of the effect of translational norms and the translator's subjectivity. What's more important, Xu makes great efforts in constructing the norm of refined language and versification in an era when free style verse in vernacular language prevailed, which promoted the versification process of new verse in late 1920s. Xu Zhimo's poetry translation took place in the background of Chinese new verse change from non-versification to versification. Therefore, His poetry translation has the feature of prosification, populace as well as versification. The versification aspect of his translation promoted the construction of norms of form in new verse in late 1920s.