A Study of Modern Stylistic Changes
The end of classical style and the establishment of modern style are guided by the evolution of modern style. Although this evolution failed to overthrow the style system of classical literature as a whole, it laid the necessary foundation for the establishment of modern style in terms of style consciousness, literary language form and internal form norms of various styles.
The traditional style consciousness confuses literary style and non-literary style, and constructs a unique literary style system. Among them, poetry and prose (literary and non-literary prose) are in an authentic position; Literature excludes fiction (including drama). As Lu Xun said: "In China, novels have never been regarded as literature." (Note: Lu Xun's "Straw Shoes and Feet". This state has seriously hindered the development of style. However, great changes have taken place before and after the Reform Movement of 1898. Yan Fu and Xia Cengyou revealed its meaning in 1897, and then Liang Qichao put forward a new concept of "novel is the best in literature" in 1902, which not only brought novel into the category of style, but also changed the structural relationship between traditional styles. This stylistic awareness directly influenced the prosperity of the May 4th modern novels, and also partially impacted the stylistic awareness of miscellaneous literature. After 1903, under the influence of "western learning", Wang Guowei, Lu Xun and others further put forward the "theory of emotion" in stylistic theory, and defined literary style and non-literary style by whether or not to express people's feelings, thus ending the traditional mixed literary style system and initially establishing a modern western pure literary style system, laying an important foundation for the birth of various literary styles in the May Fourth Movement.
Changing the language form of traditional literature is also the main goal of modern style reform. Since Gong Zizhen, the idea of writing in "vernacular" (that is, spoken language) has sprouted. 1886 Huang Zunxian put forward the view that "I write by hand, why should I stay in the past" in the language of poetry. Since then, according to the historical law of the evolution of world literature, Liang Qichao further clearly pointed out: "There is a key to the evolution of literature, that is, from the literature of old sayings to the literature of common sayings." (Note: Liang Qichao's novel series, New Novel No.7, 1903. ) With the call of theory, "proverbs" have also entered modern newspapers on a large scale. At the same time, since Guo Chongtao and Xue Fucheng of the Westernization School, many reformers and revolutionaries have also advocated in theory, introducing a large number of "new terms" from Japan, Europe and America into poetry. In this way, the language reform of modern literature will follow two directions (popularization and Europeanization) and develop towards the goal of establishing the modernization of literary language forms. Although it did not completely overthrow the language norms of classical literature in this period, it prepared the stylistic conditions for the birth of the May 4th modern style with a brand-new "vernacular" form.
The changes in stylistic awareness and language forms, as well as the extensive translation and introduction of western literature, have also caused changes in the norms of various stylistic forms. The first reform began with poetry and argumentative writing, the strongest bastion of feudal orthodox literature, and its main evolution direction was the prose of poetry and the newspaper of prose (that is, socialization and popularization). As Qian Zhongshu said: "The article is innovative and innovative, and the Tao is omnipresent. Every day, it is not a text, it is a poem. " (Note: Qian Zhongshu's Art Notes, Ming Kai Bookstore Edition, p. 36. Before and after the coup of 1898, the change of novel style was pushed to the foreground, and remarkable achievements were made soon, but the change of poetry slowed down, which was not only manifested in the rapid development of the number of "new novels", but also in the partial disintegration of the plot mode of classical novels. The change of drama style is the most difficult, but from the improvement of the old drama after the coup in 1898 to the new drama (early drama) movement, the drama style has obviously developed in the direction of speaking popular English. All this, from the speed and degree of various stylistic reforms to the basic trend of reform, has a direct impact on the situation of stylistic reforms in the May 4th period and the morphological characteristics of various modern stylistics.
Below, on the basis of the above comprehensive theories, I will make some specific explanations on various styles respectively.
Let's talk about poetry first. In my opinion, the relationship between the innovation of modern poetic style and the establishment of the stylistic norms of May 4th new poetry is not mainly reflected in the number of artistic samples provided by the innovative modern poetic style for May 4th new poetry, but in the inspiration of the ideas, methods and even directions of the innovation of modern poetic style (especially during the "poetic revolution" period) to the creation of May 4th new poetry. As Zhu Ziqing pointed out, the poetry revolution "failed, but it had a great influence on the seven new poetry movements in terms of concepts and methods." (Note: Introduction to China's New Literature Series and Poems). )
Conceptually, the reform of modern poetic style has a new consciousness of subverting the norms of classical poetic style. After more than a thousand years of bleak management, the formal norms of classical poetry have gradually formed an ultra-stable stylistic structure system. The reform of poetic style since the Song Dynasty can only be a partial adjustment on the basis of standardizing Tang, Mo and Song Dynasties. Since the Opium War, with the drastic changes in China society, this concept has finally been shaken in the ideological world of a new generation of intellectuals. Tan Sitong said in the book "Self-narration of Wild Cangzhai Poems" published by Jinling 1896: "The energy thirty years ago was exhausted by the so-called textual research. There is nothing to be ashamed of in the world. Give up when you get excited. " This thought represented the voice of most advocates of the "poetry revolution" at that time. Later, Ma, a poet of Nanshe, expressed this idea more clearly in his famous poem "Send a Fellow to Nanshe": "In the Tang, Song, Yuan and Ming Dynasties, people ignored everything and became self-regulated, so as to cast poetry talents. Turn over the old and new brocade, and don't trust the ancient fetus with this soul. " The concept that poetry should be liberated from classical norms and "self-demonstration" has actually become the forerunner of the May 4th poetry revolution.
In terms of methods, modern poetry has chosen a completely different reform path from tradition. When talking about the development of China's poetry, Zhu Ziqing said: "According to the old way of poetry development, everyone is divorced from ballads", but "the main reason why new poetry does not adopt ballads is the external influence". (Note: "New Poetry Miscellaneous Words True Poetry". In fact, the change of the method of the May 4th New Poetry began in modern times. Liang Qichao believes that to reform the poetic style, "first, we need new artistic conception, second, we need new sentences", and to achieve its goal, "we must seek Europe." European artistic conception sentences are very complicated and varied, which can last forever and cover everything. (Note: Liang Qichao's Travels in Hawaii. Commenting on Huang Zunxian's poems, Kang Youwei said: "I am complacent with my knowledge of China and the strengths of Europeans and Americans." (Note: Kang Youwei's Preface to Poetry, Man, Land and Grass). He himself also called: "New Poetry Rose was born in a strange environment, looking for Europe and Asia to create new sounds." (Note: See Mr. Kang Nanhai's poem. ) all illustrate this point, and Lu Xun's article "On the Power of Moro Poetry" written in 1907, taking19th century western romantic poetry as the frame of reference, calls for the reform of China's traditional poetry, which can be regarded as the forerunner of adopting new poetry in the May 4th period.
The brand-new consciousness and way of poetry reform will inevitably lead to a brand-new direction of poetry reform, that is, replacing classical Chinese with proverbs in language form and replacing metrical form with liberalization in structural mode and narrative mode. At that time, not only Liang Qichao and Huang Zunxian, reformists, strongly advocated "putting common sayings into poetry", but also Zhou Shi, a later revolutionary, thought that "emphasizing meter and tone" was "the slave of literature and poetry". (Note: Zhou Shi's Preface to Endless Temple Poetry. Poetry creation also echoes this theoretical requirement, and the language is becoming more and more popular. Some poems break the sentence structure of five or seven words. During this period, a large number of "Song Poetry" appeared (such as Liang Qichao's Song of the Pacific in the Twentieth Century and Qiu Jin's Song of Bao Dao), with popular language and free sentence patterns, which can be regarded as a form of transition to the May 4th New Poetry.
Generally speaking, although the reform of modern poetic style has not yet broken through the overall norms of classical poetic style, it has laid the foundation for the birth of the May 4th new poetic style in terms of concept, method and direction, which has been repeatedly mentioned by the advocates of May 4th new poetry. (Note: See Qian's letter to Chen Duxiu, New Youth, Volume 3,No. 1; Liu Bannong's "My View on Literary Improvement", ibid., Volume 3, No.3, can be said that it was along the road opened by modern poetry that they summed up its historical lessons and continued to develop them in a more thorough and scientific way before winning the birth of modern poetry.
The stylistic transformation of modern novels began with Liang Qichao, Yan Fu and Xia Cengyou's emphasis on the political and religious functions of novels on the eve of the coup of 1898, and was completed with Liang Qichao's "novel revolution" program from 65438 to 0902, and the prosperity of novel translation and creation since then. Although it failed to realize the historical task of the overall transformation of novel style to modernity, it made necessary preparations for the birth of modern novels in terms of stylistic concept and stylistic practice in a transitional form of blending the old with the new and coexisting the good and the bad.
In terms of stylistic concept, Liang Qichao's idea of trying to improve group governance by improving the stylistic status of novels and emphasizing their political and religious functions is naive, but it has important theoretical value for changing the traditional concept of belittling novels and closing the relationship between novels and real society. In a sense, it enlightens the enlightenment novelists in the May 4th period that "every article they write is made with a so-called purpose, and they are transforming society with equipment" (Note: Lu Xun's Introduction to China New Literature Series Novel II). ) the creative direction; To this, Lu Xun himself had a clear explanation. (Note: Lu Xun, "How do I start a novel? . As for Huang Moses' classic novel "Worship with Heroes, Reunion of Children" (note: Huang Moses' short stories, 1907' short stories'). ), as well as many theorists' thinking or criticism of the "elegance and vulgarity" of the "new novel" style, have also opened up a new way of thinking for the advocates of the "May 4th" modern novel.
In the practice of stylistic change, the translation of foreign novels should be mentioned first. According to the incomplete statistics of A Ying's Catalogue of Drama Novels in the Late Qing Dynasty, from 1875 to 19 1 1 year, more than 600 novels were translated, accounting for two-thirds of the total novels at that time. Although in this "translation craze", novelists' choice orientation is limited to improving the naive concept of group governance with novels and the old aesthetic taste of China readers, and they tend to be detective, political and romantic, but the practical direction of transforming China's traditional novels with western novels is becoming increasingly clear. It is this that provides a very important historical inspiration for the novel innovation in the May 4th period. On the other hand, the introduction of western novels, which are completely different from China's traditional novels, has also led to the disintegration of traditional novel style norms and the initial establishment of new novel forms: in terms of language style, a brand-new vernacular style characterized by dialects, classical Chinese rhymes and even new words and new grammar has initially formed into novel style forms; In the narrative mode, it began to deviate greatly from the traditional norms (chronological narrative, omniscient perspective, plot center, narrative and words and deeds description, etc.). ), and there has been a flip narrative, limited perspective, non-plot tendency and emphasis on psychological and detailed description. These also laid the necessary foundation for the birth of May 4th modern novels.
The reform of modern prose is carried out in narrative and argumentative essays. The reform of narrative prose began with the "introduction" of western civilization by overseas personnel during the Westernization Movement. At that time, these "introductory" essays, under the historical conditions and cultural environment of continuous opening up, such as "mushrooming, published one after another, with dozens of rich contents". (Note: Tang Tao's Western Influence and National Style, Literature and Art Research No.6, 1982. For example, Xue Fucheng's Missionary Diary, Watching Oil Paintings in Paris, Li Shuchang Western Magazine, Introduction to Paris Olympic Games, etc. "In the form of" travel notes, essays, stories and experiences ",the political, religious customs and lifestyles of western society are described. (Note: Tang Tao's Western Influence and National Style, Literature and Art Research No.6, 1982. These essays partially broke through the shackles of Tongcheng's righteousness and law in stylistic norms, and provided useful historical experience for the creation of modern narrative lyric prose during the May 4th Movement.
Comparatively speaking, the reform of modern argumentative prose has a greater influence on the May 4th prose. This kind of change has formed two key points along the same direction of denying "culture carries Tao" and "generation of saints". One is to pursue the "unity of words and characters" of language style. Prose in Qing Dynasty was originally based on Tongcheng School's ancient prose, and its language style was not only highly classical, but also deliberately pursued syllable harmony and stressed temperament, which caused a serious separation from oral English. This is in sharp contradiction with the rising trend of bourgeois reform. Therefore, since modern times, there has been a trend in the literary world to oppose Tongcheng ancient prose and create a new style prose close to oral English, and Liang Qichao is the writer who has made the greatest contribution to this trend. 1898 After the coup, Xinmin Cong Bao was founded in Japan on 1902. In order to meet the requirements of the era of enlightenment propaganda, he absorbed the Japanese newspaper style of Toshin and others who were good at expressing European ideas and created a "new style". The historical contribution of the new style lies in that it enlightens a correct way to realize the "integration of writing and writing" in the argumentative style: one is to input the vital oral components of the nation, and the other is to input foreign words and grammar that have become popular in society and become part of oral English, thus abolishing the stylistic system of classical Chinese. As he said in "An Introduction to Academic Studies in Qing Dynasty": "To be easy to understand, slang, rhyme and foreign grammar are sometimes mixed, and the vertical strokes are out of control." Although the "new style" has not fully realized the colloquialism of argumentative essays in practice, it has played an important role in clearing the way for the realization of this goal. This is why Hu Shi, Qian, Liu Bannong and others all spoke highly of Liang Qichao's "new style" during the May 4th Movement.
Another key point is to pursue scientific discussion of argumentative essays. Classical argumentative essays developed to the Ming and Qing Dynasties, and their tendency to be vague and trite has reached a very serious level. As Chen Duxiu pointed out in radical words in On the Literary Revolution, "If we go back to Fang Liuyao's articles, we will find it hard for those who are armchair strategists. Every time there is a masterpiece, I shake my head and tail. I don't know what to say. Its trick is only to deceive people on antiques and has no value. " From 1905 to 1907, the articles in the debate between revolutionaries and idealists introduced western formal logic for the first time, which made the way of discussion have the color of modern science. Since then, Zhang has further developed this way of discussion and created the so-called "banana peel" style, that is, he used inductive and deductive reasoning methods to deepen the argument layer by layer, so that the discussion has strict logic and speculative power. Although these changes have not completely shed the shell of the ancient prose, his articles are called "Europeanized ancient prose" by Hu Shi, but it is of great significance to realize the transformation from the May 4th argumentative essay to the modern one. The early writers of New Youth, such as Chen Duxiu, Gao, Li Dazhao and Hu Shi, were mostly influenced by Zhang's "banana peeling" style.
Generally speaking, the changes of modern argumentative writing in stylistic function, language style and discussion mode have come to the front of modern times. Modern prose begins with argumentative writing, which is related to the needs of social reality, but the achievements of argumentative writing in modern times are also a very important factor.
The modern process of the development of drama style began at 1907, but before that, the perfection of modern drama laid a necessary historical foundation for it, mainly in the following three aspects:
The first is the renewal of stylistic concepts. For the purpose of "improving group governance" and "enlightening people" with the help of literature, advanced intellectuals in modern times lashed out at the traditional concept of belittling drama literature. They think: "If you want to be good at state affairs, you should first be good at customs, and if you want to be good at customs, you should first be good at writing books. Quben is a place where ordinary people are susceptible, and it is the foundation of the country's rise and fall. " (Note: Quoted from Zhu Defa: History of the May 4th Literature in China, Shandong Literature and Art Publishing House 1986 1 1 edition. There are even people who compare novels with dramas and think that "the effectiveness of drama has a greater impact on society than novels". (Note: Iron "Iron urn embers", "Xiao Shuo Lin" 12. Although these views exaggerate the role and position of drama literature, they are undoubtedly very beneficial to arouse people's attention to stylistic reform and promote its transformation to modern history.
Secondly, the improvement of modern drama has also inspired a correct way to realize the historical transformation of drama style to modern times. In modern times, some drama reformers "always planned to transform something new from the old drama tradition for a long time, and found that this effort was very unsuccessful" (Note: Zhang Geng's First Draft of the History of China Drama Movement, 1954 Drama Newspaper, No.4). ) So some people of insight began to explore ways to improve China's dramas by adopting French and Western dramas. If someone advocates "eliminating and correcting" the materials of China's classical drama, and chooses the major historical events of "shocking, embarrassing and crying about the West", "detailing its history one by one and copying its expression, making it possible for a person to live for a thousand years." (Note: Qi Fu's "On the Popularization of Enlightenment Wisdom, First Improve the Script" is quoted from China's May 4th Literature History, p. 587. ) Some people advocate Shakespeare's tragedy, claiming that China's drama circle "must be based on tragedy". Others advocate "adopting western methods" and adding language elements to the play. Although these viewpoints did not explicitly put forward transplanting western drama to construct China's drama style, they led the way of transformation from traditional drama to western drama, which is of great significance.
Thirdly, the progress of modern drama also indicates the basic direction of the development of modern drama style. 1898 Before and after the coup, Wang Xiaonong, Xia Yuerun, Pan and other "new and old players" reformed the traditional drama norms from the perspective of stage practice. They more or less adopted the form of western drama, and their narrative style was mainly plain, using life-like scenery. "Of course, there is no need to take action as in the past, all of which must rely on the action of representatives." (Note: Hong Shen's Introduction to Modern Drama, China New Literature Series. Although these reforms only opened a crack on the hard ice of traditional drama style norms, people saw from the crack that drama "approaching reality" would become an inevitable trend of modern drama.
On the basis of the above three aspects, the creation of modern drama style finally began with 1907. In March of that year, the "Spring Willow Club" founded by students studying in Japan under the influence of the new Japanese drama performed the third act of the famous French drama La Traviata. Then, Zeng Xiaogu staged Uncle Tom's Cabin, an American woman writer, which was the first complete script of China's early plays. Since then, many drama groups have been established in China, such as "Chunyang Society" and "New Drama Comrades' Association", which have freely translated and adapted many foreign plays and imitated some plays. The period from 1907 to the rise of the New Literature Movement 10 is the pioneering period of modern drama style, and its main achievements are as follows:
First of all, gradually end the practice of transforming traditional drama with western drama and establish the stylistic concept of "transplanting" western drama as the main form of modern drama. In the early stage of modern drama movement, the dominant concept of drama was to transform traditional drama with the spirit of western drama. In other words, the reformers are not prepared to completely abandon the basic formal framework of the old drama. They believe that although "drama" that tells stories and expresses feelings has become "popular" in China, "drama is mainly about singing and should do something". (Note: The Story of the Pear Garden by Wang Mengsheng, Commercial Press, 19 15. At this time, people of insight believe that this so-called new drama with singing "can only be said to be a transitional drama, not a new drama, and the new drama is based on the principle of not singing." (Note: Li Tao's On Today's New Drama and Spring WillowNo. 1. This shows that people have noticed the difference between drama and improved drama, and think that the new drama should take the road of "transplanting" drama. It is based on this concept of drama that the stylistic practice of early drama is getting deeper and deeper. After the Revolution of 1911, with the decline of the so-called "civilized drama", Lv Jingruo, Ou Yangyuqian and others are trying to explore the correct path for the development of modern drama, and have created excellent works such as Mother, Zheng Zheng in New Village and Yan Zhijing. These works, in the structural mode, broke the formal norms of classical drama and formed a strong dramatic conflict with the contradiction between the characters' personalities; In the way of narration, stylized movements and vocals are all cancelled, and only dialogues are used instead, making the language style more colloquial. Although the drama at this time can't completely cut off the tail of classical drama style, it is becoming more and more dramatic.
Modern stylistic reform, whether it is stylistic awareness, language form or internal formal norms, has failed to enter the modern gate because of the time limit of the reform subject's thinking structure and many factors of social objects (political and economic strength, cultural conditions, readers' aesthetic psychology, etc.). ); This historical situation is also the direct reason for the rise of the May 4th Cultural Revolution.
Like modern times, the updating of the stylistic norms of the May 4th novels is mainly carried out at two levels: stylistic concept and stylistic practice. In terms of stylistic concept, Chen Duxiu, Lu Xun and some people in trendy society and literature research society critically inherited Liang Qichao's "stylistic function theory" and advocated that "the primary duty of novels is to improve society". (Note: Xi Zhi (Luo Jialun), The Novel Circle in China Today, 19 19 1 New Wave, 1. However, they no longer directly associate novels with political reform, but generally see that there are intermediaries such as "humanity" and "human feelings" between them; At the same time, it also corrected Liang Qichao's narrow instrumental theory of treating novels as an improvement of group governance, and endowed novels with the value of independent existence. For example, Lu Xun clearly pointed out: "The reason why literature and art are literature and art is not a lesson. If the novel is turned into a self-cultivation textbook, what literature is there? "
The second decade is the maturity of modern style. The development of literary style in this period inherited the achievements and shortcomings of the founding of the People's Republic of China and showed a new evolution trend under the new historical conditions.
One of the manifestations is the rise and fall of some stylistic subtypes. The most prominent area of stylistic decline is poetry. Around 1926, dissatisfied with the tendency of excessive liberalization of early vernacular poetry, new metrical poetry, represented by colleagues of Crescent School, rose. Almost at the same time, the early symbolism poems represented by Li Jinfa also appeared in the side of the poetry circle. However, at the beginning of the second decade, this symbol fell from the poetry circle. 193 1 year later, the heyday of the new metrical style also disappeared in the poetry world. On the contrary, many genre subtypes were very popular in this period. In poetry, there are semi-free bodies represented by Cang Kejia and new symbolic bodies represented by Dai Wangshu. Semi-free style is a counterattack against the new metrical style, which opposes the complete dispersion and excessive regularity of poetic style, but combines the advantages of both (such as Cang Kejia's poetry collection "Brand"). The new symbol inherits Li Jinfa and others' narrative style of "suggesting lyricism" with images, but it is not as obscure as Shi Li (such as Dai Wangshu's Rain Lane). In terms of novels, in addition to the embryonic novellas established and matured in this period, there are also sensory novels and psychoanalytic novels created by the new sensory school represented by Shi Zhecun, Mu Shiying and Liu Naou. The most striking change in prose is the prosperity of reportage in the early 1930s. In the aspect of drama style, it is also remarkable that the full-length drama system is established and matured. There are many reasons for the rise and fall of style in this period, which are related to the drastic changes of social and political situation and social ideological trend; It is also related to the accumulation of stylistic experience and the changes of readers' aesthetic psychology; The renewal of creative subject and its way of thinking is also an important reason.
The second performance is the overall consciousness of stylistic awareness and the maturity and deepening of stylistic norms.
In the first ten years, the understanding of stylistic value, function and norms mainly focused on poems and novels, while prose mainly focused on essays. As for "the theory of narrative lyric department, unlike Lu Xun, who wrote essays, is not only a master of creation, but also the founder of the theory, so it was not systematically introduced and expounded in the early stage." (Note: History of Modern Prose in China, edited by Yu Yuangui, Shandong Literature and Art Publishing House, 1988 edition. The research articles about drama style are even rarer. During this period, great changes have taken place in the situation, especially in prose. All kinds of papers and monographs on the study of prose style have sprung up at one time, and the stylistic research of reportage has also sprung up and achieved remarkable results. (Note: History of Modern Prose in China, edited by Yu Yuangui, Shandong Literature and Art Publishing House, 1988, p. 170- 175. Although the study of drama style is not ideal, it has made great progress compared with the previous period. In particular, some theorists of People's Drama Club have basically reached a systematic and scientific level in their research on the stylistic norms of modern melodrama. (Note: See Sun Qingsheng's Crying for the Dawn of China's Drama, No.2 of China Modern Literature Research Series, 1986. )
With the overall consciousness of stylistic awareness, the practice of stylistic norms is becoming more and more mature and deepened. In the first ten years, basically mature styles were short, such as short poems, short stories, essays and one-act plays. During this period, the style construction generally deepened to a long or relatively complex style. Therefore, the creation of long poems, novellas, reportage and long dramas is spectacular. Moreover, regardless of the length, most modern stylistic norms reached maturity in this period. In the form of language, writers generally rise from the general pursuit of "vernacular" to the high-level pursuit of language aesthetic characteristics. In terms of structure and narrative methods, it has also reached a skilled level. For example, in novels, the phenomenon of "technical naivety" criticized by Lu Xun in the previous paragraph has completely disappeared, and it has been replaced by a number of beautiful and moving movements written by novelists such as Mao Dun, Ba Jin and Lao She.
The third performance is the improvement of the phenomenon of "not eating foreign things" in style and form. In order to arouse people's realistic political needs, the restriction of people's aesthetic psychology and the reflection of creative subjects on how to transform traditional culture with foreign culture, writers began to pay attention to and consciously explore the nationalization of style. Nationalization in this period mainly focused on the level of popularization. The theoretical advocacy and many discussions of the "Left Alliance" and the appeal of the Chinese Poetry Society for the popularization of poetry accelerated the process of the popularization of style. In poetry, many writers advocate that "skills should not be too divorced from the public". (Note: The word "style" has three meanings in modern literature: first, the style (or genre) of the work, such as Liu Bannong's "My View of Literary Improvement": "There are many English poems, and there are prose poems without rhyme." The second is the language form of the works, such as Qu's "Literary Style": "If you want to have a lively style, you should make good use of classical Chinese." Third, the writer's style or genre characteristics, such as "Bing Xin Ti" and "Yu Si Ti". In this paper, style is defined as: the formal aesthetic norms of works composed of language forms, structural patterns and narrative methods, and sometimes refers to the types of works formed by such norms. As a result, their works tend to be popular in style and format, which greatly overcomes the over-Europeanization in the early stage, and even many works imitating folk songs have appeared, such as some poems by Pu Feng, Liu Wen and Cang Kejia. Other genres, such as Lao She's "Camel Xiangzi" and other novels, Ye Shengtao's and Feng Zikai's essays, and Li Jianwu's plays, have also eliminated the shortcomings of mixed writing and writing, as well as the shortcomings of being full of foreign flavor, and become plain and simple in style.
During the 10 years from the outbreak of War of Resistance against Japanese Aggression to the victory of the Liberation War, due to the division between the Kuomintang-controlled area (including the "isolated island" area) and the liberated area (known as the anti-Japanese base area behind enemy lines during the Anti-Japanese War), the development of modern style also showed a dynamic trend of two completely different branches.
The general trend of stylistic evolution in Kuomintang-controlled areas is still to follow the road opened by the May 4th stylistic revolution, and continue to take western stylistics as the reference system to develop various stylistics needed by reality. In the early days of the Anti-Japanese War, due to the urgent need to arouse people to devote themselves to the cause of saving the country, the small and simple drama forms with characteristics of the mass media acted as pioneers of various styles, and one-act dramas, street dramas and live news dramas were once very active. Similarly, short poems, reciting poems, essays and small reportage, which have always been called "literary light cavalry", are also particularly prosperous. For the new poetry family since the May 4th Movement, reciting poetry is a brand-new sub-type. It was born in Wuhan, the center of the anti-Japanese national salvation movement in the progressive cultural circles in the early days of the Anti-Japanese War. The authors are Gao Lan, Feng Naichao and Guang William. J. Poetry recitation belongs to freestyle in the basic form of style, but it is slightly different from the general freestyle because of its outstanding propaganda function and special communication mode. Zhu Ziqing said: "Propaganda is the task of reciting poems. It satirizes, criticizes and encourages action or work. It is sometimes visualized, but mainly in the use of naked abstract language; This is not a hasty language, but a calm and happy language full of spicy and anger. This is spoken language, a dialogue, and it is said directly to the listener. " (Note: On Poetry and Appreciation of Elegance and Vulgarity, Observatory, May 1948, p. 37. ) This generalization is more accurate.