The Study Of Bian Zhilin's Poetry Deletion And Poetry Art

Reflecting Bian Zhilin's entire creative career,his poetry writing and theoretical practice have made great contributions to the development of Chinese new poetry.From the "New moon" and beyond the "New moon",he merged the western modernism and Chinese classical poetry art,initiating a new world for the development of Chinese metrical new poetry.However,as a poet known for "elaboration",he is less devoted to the writing and elucidation of poetic theory,which brings difficulties to the comprehensive understanding of bian zhilin's poetic artistic pursuit.It is not enough to realize the exploration and significance of the new rhythmic poems by bian Zhilin.The selection and version study of Bian Zhilin's poems has always been a neglected research blind spot.This thesis,starting with the revision of Bian Zhilin's poetry,comparing all the poems in Bian Zhilin's creative career(1926-1996),and combining Bian Zhilin's addition,deletion and modification of different poetic versions at different stages,explores the poet's artistic pursuit of perfect combination of the aesthetic taste of Chinese classical poetry and the intellectual thought of Western Philosophical poetry,reveals the complex mentality of the poet's entanglement of "little self" and "great self" after 1940,and grasps the value of creation of Bian Zhilin's new metrical poetry,which injects a dose of cardiotonic,"reviewing tradition"and seeking innovation,into the current increasing prose-like and marginalization of development trend of poetry.This thesis is divided into five parts:"Introduction" mainly introduces the characteristics of Bian Zhilin's poetry creation at each stage,sorts out research trends of this topic at home and abroad,and clarifies the research methods,research significance,basic ideas and innovations of the thesis.The first chapter focuses on analyzing the value and significance of Bian Zhilin's lifelong new metrical poetry.Looking at "The Chronicle of Worm and Worm",a self-collection in poet's late life,we can almost regard it as a "fighting history" that studies and corrects the rhythm of Chinese new poetry.In the situation where Chinese contemporary poetry rushes toward the prose-like culture,but slightly degraded,Bian Zhilin's deletion and revision of his poems successfully indicated the feasibility of Chinese new poetry on the road to "metre".The second chapter starts with the analysis of Bian Zhilin's works from 1926 to 1937 which not collected into anthology,and tries to find a new way of Bian Zhilin to explore the convergence of classical metre and modern thinking.In the quiet change of Chinese traditional literature consumption and literary writing mode,the "classical breath" quite similar to the "sour breath",but the genre structure of poetry has gradually moved from the center to the edge.At the same time,it seems to be particularly important to achieve blending of "classical beauty" and"modern beauty",and preserve traditional interest in modern Chinese poetry.The third chapter,combining Bian Zhilin's modifications of the his poems written after 1940,mainly based on the changes in the poem edition of 20 "Letters of Consolation",and quoting his other poems after the foundation of the country,explores the poet's contradiction between personal poetry aesthetic and political aesthetic requirements."Conclusion" affirms Bian Zhilin's efforts and values in blending classical poetry with modern spirit,and reveals the possibility of rebuilding the bridge between Chinese new poetry and classical art."Conclusion" affirms Bian Zhilin's efforts and values in blending classical poetry with modern spirit,and reveals the possibility of rebuilding the bridge between Chinese new poetry and classical art.