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A Revaluation of Shao Xunmei's Poetry: Focusing on His Third Collection of Poetry Twenty-five Poems
The Journal of Chinese Cultural Studies
2014, (25),
pp.243-265
DOI :10.18212/cccs.2014..25.010
Publisher : The Society For Chinese Cultural Studies
Research Area : Chinese Culture
DOI :10.18212/cccs.2014..25.010
Publisher : The Society For Chinese Cultural Studies
Research Area : Chinese Culture
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The purpose of this study is to carefully revaluate the historical and aestheticcharacteristics of Shao Xunmei's 邵洵美(1906-1968) third collection of poetry Shiershiwu shou 詩二十五首(Twenty-five Poems), especially focusing on his concern forharmonizing poetic contents with formal device. His enthusiasm for decadentimagination and technique of weaving highly symbolic seductive images became distinctly visible throughout the Twenty-five Poems. Generally speaking, Shao's thirdcollection of poetry is superior to his first and second collection of poetry in aestheticvalue. In his “Self-preface 自序,” he attempts to suggest that poets should employdifferent forms for different inspiration―the form always being appropriate to thesubject. Also he said poet's mission is to evoke an object that suggests the meaning,not to explain an object concretely. Because the inspiration experienced by a poet isunique enough to match the faith in Christianity, the poet is reduced to the use of acomplex and godlike symbolization in an effort to give expression. As a result of this,Shao's aesthetic achievement is superb and has a special significance in that thesepoems reflect his study on the characteristics of decadent literature as being chineseavant-garde.
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