A Study Of The Relationship Between Liu Bannong’s Poetry Translation And His New Poetry Theory And Creation

This article focuses on the interaction between Liu Bannong’s poetry translation and theories of poetry and creation between 1917 and 1934.The article divides Liu Bannong’s life into three stages,exploring the influence and interaction between translation,theory,and creation from two aspects: overall research and specific analysis.The article divides Liu Bannong’s life into three phases,and explores the influence and interaction between translation,theory and creation from both a comprehensive study and a specific analysis.Firstly,during the period of Notes from the Lingxia Pavilion,Liu Bannong’s translations were an enlightening influence on theory and creative writing.During the "New Culture" movement,the influence of translations led to a shift from traditional metrical poetry to new poetry in the vernacular.After Liu Bannong’s study abroad,he advocated the incorporation of dialect into poetry and collected a substantial number of folk songs,not only in the form of the translation of foreign folk songs,but also in the completion of the collection of The Whip and the Collection of the Wakame.As a pioneer of new vernacular poetry,Liu Bannong was an early voice in the New Youth in terms of poetry translation,theory and composition.Liu Bannong’s rich conception of literature and art is revealed in his early theoretical essays ’My View of Literary Improvement’ and ’The Spiritual Innovation of Poetry and Fiction’,a portion of which also served as his advocate for innovation in the theory of new poetry.A study of the interrelationship between Liu Bannong’s poetry translation,theory and composition will not only affirm the value of Liu Bannong in the early years of Chinese vernacular new poetry,but also serve as a case study to restore and explore the historical scene and creative achievements of new poetry in the May Fourth period.