英文摘要 |
Purity of poetry has been an important concept to modern Chinese and Taiwanese poets since the commencement of New Literature. New poetry eliminated the limitations of rhyme schemes and tonal patterns, which allowed poets to express their emotions and thoughts with more freedom. But, the use of vernacular in poetry also made it necessary to distinguish new poetry from prose, which in turn moved poets to probe the new aesthetic and linguistic forms, and even to adjust their relationship with readers. The purity of poetry is no doubt the poets' earnest pursuit of what modern poetry ought to be. Pure poetry advocates ridding poetry of interference from social and political ideologies, and emphasizes the components of pure poetic form. By focusing on Yang Chih-Chang's and Ji Xian's conception of pure poetry, this essay analyzes how pure poetry, originally from the West, and especially as influenced by French symbolism, was conceived and put into practice. The aims of this essay are, firstly, to describe the inner drive and outside trajectories of the pure poetry movement in Taiwan. Secondly, from a comparative point of view, it will look at how Taiwanese modern poetry reconstructed itself while facing the impact of literary modernization. In pursuit of these two aims, the author hopes that this essay will provoke new discussions on literary modernity from the perspective of pure poetry, which has long been neglected by literary researchers. |