/kloc-French literature in the 0/9th century/a glimpse of French literature in the 0/9th century.

19th century is a crucial historical moment for French literature from classicism and romanticism to modernism. In French literature in the19th century, modernity in its embryonic stage showed its lively and contradictory "uncertainty" characteristics from the beginning. Literature with different styles and charms coexisted and developed alternately, which made the French literary world at that time a colorful garden of free creation. Literary masters come forth in large numbers, and talented superstars gather; The "Coffee Salon" in "La rive gauche" and "Le quartier Latin" in Paris has become a gathering place where inspiration and passion of various creative schools are intertwined. All kinds of literary and romantic myths spread like wildfire in one cafe after another on the left bank, making the sky here overlap with layers of bright and dazzling atmosphere. Chardonnay Briant, who is the most talented in creative ability, is famous for his gorgeous, poetic and infectious essays René (1802) and Mé moires d 'outre-tombe (1848-1850). The dazzling light of his works almost enveloped his creative spirit from 1800 to 1820. Inspired by Chaudhry Briante and others, the great masters of romantic literature emerged from the Restoration period (18 14- 1830) to the July Dynasty under Louis Philippe I (1830-/).

During this period, Lamartin (Alphonse de la Martine, 1790- 1869)' s Meditations (mé ditions poé tiques, 1820) and "Harmony between Poetry and Religion" (650). The story of Miao Sai (18 10- 1857) in Spanish and Italian (Contes d 'Espagne et d 'Italie, 1829), Nocturnal (Les Nuits,1829). Alfred de vigny's (1797- 1863) poems such as Antiques and Modernity (1826) and Destiny (1864) are exquisitely expressed. Gé rard de Nerval (1808- 1855)' s "The Martyr" (1854) and "Oreglia" (Oreglia, 1855) are gripping romanticism.

In terms of novels, Stendhal (1783- 1842)' s Red and Black (1830) describes the romantic plot in love and the delicate inner world of handsome men and beautiful women who pursue love freedom with a rigorous realistic structure, and writes a touching love story. Balzac (Honoré de Balzac, 1799- 1850)' s representative work, A Life of Man (184 1), consists of more than 90 novels, and has created more than 400 characters with genius brushwork. Balzac's Style pioneered the appearance of the same character in many novels in the history of world literature and created the most perfect model for the so-called "critical realism" literature. Notre Dame de Paris by victor hugo (1838+0885) and Les Miserables (1862). Alexandre dumasfils Pierre (1802- 1870) wrote The Count of Monte Cristo (1844) and The Three Dwarfs (1844). 1844) and Dumas Fils (1824- 1895) have rich imagination and are unique among the two generations of literary masters. Michel's "History of France" (1833- 1874) and "History of the French Revolution" Aise, 1847- 1853), which has great historical and literary value, shows the excellent quality of combining historical mission with literary talent that all the most outstanding historians have; George sand (1804- 1876) advocated women's liberation, such as Indiana (1832) and Lelia (Lélia, 1833). The pastoral novel The Magic Swamp (La) once again pushed romantic literature to a new climax.

The second stage is the period of modernist literature initiated by panas School. The literary and artistic innovation movement initiated by Thé ophile Goghie (181-1872) is a direct response to romanticism, but in many ways it benefits from the principle of romantic creation itself. Surrounded by a group of crazy pursuers of "pure form" creation, they claimed to be inspired by the mysterious mountain in Parnas where a group of muse poets lived in seclusion in ancient Greece, and set off an aestheticism movement of "L'art pour l'art" centering on the literary magazine Le Par Parnas, emphasizing that "art has no other way but itself. However, the stubborn pursuit of perfect formal beauty breeds a deeper reflection on "L 'Absolute".

However, charles baudelaire (182 1- 1867) was not satisfied with the slogan created by the panas school in pure form. He endowed art with a higher and more mysterious mission than the pursuit of "pure beauty" and decided to let art transcend the common time and space framework and lead to the "unknowable" artistic conception outside the language and moral fields. His Les fleurs du mal (1857) skillfully combines images with symbols, and is unique in art, challenging traditional ideas and aesthetics, marking the transition of modern poetry from symbolism to realism and becoming the founder of modernist literature. Therefore, the real wave of French modernist culture began with the poet charles baudelaire (182 1- 1867).

Baudelaire is a talented poet who is lonely, melancholy and sentimental. Starting from 1930s 19, he began to create freely, which broke through the modern poetry mode. Subsequently, in the 1940s, 1845 Salon of Literary Criticism and 1846 Salon were published, which challenged modern literature. Baudelaire, together with the young talents in Paris, moved the literary salon controlled by the rich and the ladies since the17th century from the luxurious mansion in the city center to the romantic cafe on the left bank of the Seine and the Montmartre popular theater where poor artists gathered. They cynically call themselves "rowers", "black cats", "decadent", "slovenly" and "drunkards", set up their own literary and art societies, vent their cynicism and hatred of conformity, and regard literary and artistic creation as the best entertainment and game place in life. They realized the gamification of art for the first time, and achieved the goal of gamification of life through the gamification of art, thus gaining absolute freedom in the gamification of life.

Baudelaire thinks: "The ultimate goal of poetry is not to elevate people to vulgar interests;" If so, it is obviously absurd. I mean, if a poet pursues moral goals, he will weaken the power of poetry ... poetry cannot be equated with science and morality, otherwise poetry will decline and die. Poetry does not aim at truth, it only aims at itself. " "Poetry can't have any other purpose besides itself. Only poems written purely for the pleasure of writing poems can be so great, so noble and so worthy of the name. "."Because of poetry, it is also through poetry, it is because of music, and it is also through music that the soul meets the glory behind the grave. A beautiful poem can bring tears to people's eyes, but these tears are not evidence of extreme happiness, but show an angry melancholy, a spiritual pursuit, a nature of wandering in imperfection, and it wants to get a paradise displayed in heaven immediately. " "The essence of poetry is nothing more than human yearning for the highest beauty. This essence is manifested in enthusiasm and possession of the soul. This enthusiasm is completely independent of emotion and is a kind of spiritual ecstasy; At the same time, it is completely independent of reality and is rational data. "

As a representative of modernist poets, Baudelaire is famous for his work Flowers of Evil (1855). When this book was published, he was accused of "obscenity" and "disturbing public morality" because he openly and boldly despised morality and traditional culture. Baudelaire said in his dedication to the book Flowers of Evil: "These poems are the most beautiful flowers in his morbid spirit, and they are the undisguised voices in his deepest heart." In the book "Flowers of Evil", there is a poem "carrion", which reads as follows:

Love, think about what we see,

On a beautiful morning in a cool summer.

At the corner of the path, there is an ugly carrion.

On a bed covered with stones,

Legs up, like a slutty woman,

Steaming,

Show a casual and shameless look.

Open your fucking stomach.

......

Baudelaire advocates the modernity of culture. This modernity is not a general synonym for modern bourgeois culture since the Renaissance and Descartes, but the result that internal contradictions have developed to a certain extent and can no longer continue to develop in the same way. Because of this, the "modernity" initiated by Baudelaire implies the critical spirit of later "postmodernism" to western traditional culture. In this sense, it can be said that "modernity" from Baudelaire is a transitional culture full of "modernity" and "post-modernity".

Under the impetus of Baudelaire, a group of French literati, including paul verlaine (1844- 1896), arthur rimbaud (1854- 189 1) and Malam (Sté). 1842- 1898), Count Lautramon (1846- 1870), Morea (Jean Moreas,1856-19655). 1858- 19 15), lafferger (Jules lafferger, 1860- 1887), barres (Maurice Barres,1862-/. 1864- 1936), Grodl (paul claudel, 1868- 1955), Valerie (paolo valeri,1871-1.

Meanwhile, Irish poets William Butler Yeats (1865- 1939), Russell (1867- 1935), Singer (john millington singh, 187 1- 1909), Arthur Symonds (1865- 1945) and Thomas Stearns Eliot (654381883-/kloc-0). 1885- 1960), Ahldin (Richard Aldington, 1892- 1962). 1879- 1955), william carlos williams (1883- 1963), Edward estrin cummings (1894- 1962). 1899- 1932), Doolittle (hilda doolittle,1886-19/kloc-0), Fletcher (John Gould,1886-/kloc-0) 1874- 1925), pound (ezra pound, 1885- 1973), and Moore (Marianne Moore, 1887- 1972). 1862- 1946), Georg (Stefan Georg, 1868- 1933), Hofmannsthal (Hugo von Hofmanster,1874-/kloc). 1875- 1926), Russian phedor kouzimitz sologop (1863-1927), Merezhkovski (Dmitrie Sergeivitz Merezkowski, 1865- 194 1) and gippius (1869- 1945) During this period, modernity in literature can be called a typical representative of modern culture.

Modernity culture came into being in the middle of19th century from the beginning, which is far beyond the scope of literature. It first spread in the art world, the literature of the nearest neighbor. In the art world of painting, printmaking, plastic arts, music and other fields, a large number of modernist masters have appeared one after another. This is the aforementioned impressionism and post-impressionism in France, as well as the Art Nouveau movement in European countries, Nabi and Fauvism, and so on.

Modern culture even interacted with the development of social science and humanities in the19th century.

First of all, in the field of philosophy, Schopenhauer (1788- 1860) and Nietzsche put forward Kierkegaard (18 13- 1855), a Danish thinker, in 1930s. In particular, Nietzsche became the most outstanding thinker whose modernist culture challenged western traditional culture. His thorough criticism of traditional rationalism, Apollo spirit and Christian morality paved the way for the development of modernist culture and even the emergence of post-modern culture.

Under the influence of Nietzsche, Austrian psychologist Freud (1856- 1939) founded the theory of subconscious, and French philosopher Bergson (1859-194) further developed the modernist philosophy of life.

In the fields of philosophy, social science and humanities, the criticism of traditional culture is actually related to the critical spirit promoted by the industrial revolution completed in Europe in the 1930s. Because of this, the criticism of modern capitalist system and its culture by Marx and his school from the late 1930s can also be regarded as an integral part of modernist culture. As an anti-capitalist ideology, Marxism severely criticized capitalist culture from the first day it came into being. His criticism of capitalist culture is similar to that of the newly emerging modernists in the same period. Therefore, Marx's theory is sometimes regarded by some theorists as an integral part of modernist culture; At the same time, because Marx's theory criticizes capitalist culture, it has a postmodern spirit that criticizes modernism, thus making Marx's theory have the characteristics of modernism and postmodern culture at the same time. Of course, Marxism still belongs to the rationalist school. Like the traditional theory, it tries to construct a systematic ideological theory. Because of this, Marxism belongs to modernism in traditional culture in terms of its theoretical system and basic concepts; As far as its principles of criticism and reflection are concerned, it also contains the creative spirit of postmodernism.

From the second half of19th century to the beginning of 20th century, the whole western social science and humanities are at a new turning point. People often regard the ideological and theoretical construction in this period as the reconstruction stage of the theoretical basis of modern cultural philosophy. During this period, the western social sciences and humanities appeared an encouraging scene of a hundred schools of thought contending and a hundred flowers blooming, which was also a revolutionary era of bringing forth the old and bringing forth the new. This not only becomes the ideological and theoretical source of self-improvement and self-enrichment of modernist culture, but also implies the potential spiritual motivation for the transition from modernism to postmodernism.

Looking at the development history of western culture for nearly a hundred years from 1930s to early 20th century, we can vaguely see the gestation process of post-modern culture in the process of creation and development of modern culture. Although postmodernism is a thorough criticism of modern culture, it is also a revolutionary spiritual force gradually formed in the development of modern culture.

It was inspired by Baudelaire's modern literature that the talented Stéphane Mallarmé (1842- 1898) began to pay attention to the rhythm of language and its musical effect with an amazing unique style from his debut novel Blue (1864). As a follower of Baudelaire and an admirer of Poe (1809- 1849), he put forward the resounding slogans of symbolism and impressionism, which made his poem Les fenêtres》(65438). 1865), etc. Trying to break through the shackles of language barriers and become a poet's eternal solemn and quiet silent eulogy for "death" and "nothingness".

Arthur rimbaud (1854- 189 1), a romantic genius who wrote poems in Latin at the age of fifteen, expressed his dissatisfaction and rebellious spirit to the society without reservation in his youth. His pursuit of freedom and "absoluteness" is set off in the poem Feeling (1870) with concise and implicit language:

"On a blue summer evening, I was walking on the road.

Through the weeds, the thorn stung his foot.

As a dreamer,

I enjoy the pleasure of refreshing my feet;

Let the breeze blow the naked head.

I have nothing to say, I have nothing to think about;

But endless love emerges from my heart.

I walked and walked,

Like gypsies,

Go to the farthest place;

Dancing with nature is like a beautiful woman walking with me.

It's fun and leisurely. "

For poets, wandering aimlessly in free creation means enjoying the fun of games in a universe full of endless risks.

At the same time, under the influence of Baudelaire, the symbolist paul verlaine (1844- 1896) was interested in "discordant research" rather than orderly rationality and balance. Because it is in "disharmony" that endless "possibilities" emerge, that is, the unfathomable mysterious "le trou noir" that breeds various turning points. With his profound poems (1866+0866), he showed the arrival of the post-Baudelaire era full of melancholy symbolism and impressionism. He used romance without words (1874) to set off the ever-changing fantasy realm of life composed of music rhythm and flowing "impression stream".

The third stage is the period of realism and naturalism. After more than half a century's transition from classicism to modernism, some French writers returned to the soil of social real life to learn from their creation. However, this realism does not simply repeat and copy the reality itself, but gives the reality its due meaning in describing the reality and declares war on the reality. The rich and vigorous rhythm of real social life makes gustave flaubert (182 1- 1880) feel the creative rhythm deeply hidden in reality. His Madame Bovary (1857) and Emotional Education (L' Education Sentiment, 1869) have realized the writing idea that the author has been brewing since he was nine years old: exposing all kinds of nonsense under the orthodox packaging.

Under the impetus of Qian Lubai, Guy de Maupassant (1850- 1893), who started writing in various genres at the age of thirteen, wrote more than 300 short stories, 6 novels, 3 travel notes and many comments, despite his long-term suffering from syphilis.

Finally, at the end of the century, Zola (é mile zola, 1840- 1902) and Gongur brothers (Edmund et Jules de Goncourt,1822-1896; 1830- 1870) ruled out the interference of all kinds of pessimistic and world-weary emotions prevailing at that time, and raised the style of critical realism to a new peak by means of music naturalism. Gemini Lachette (1865) and Young Liza (1877), two brilliant works of the Gungur brothers, established their position in the history of modern French literature, and enabled them to establish the Gungur Academy Prize for Literature (PRIX LITé RAIRE DE L 'acadé mie Goncourt).

At the same time, realism and naturalism caused by Lou Bai and Maupassant reached the most mature form in Zola's works. Rougon-Macquart: Histoire Naturelle et Sociale d 'une famille Soule Second Empire (1869- 1899), a 20-volume literary masterpiece, has consumed the author's youth for nearly 25 years and created more than 1000 characters. Together with other novels in Zola's later period, such as Asomoyi (1877), Shengfa (1885) and Nana (1880), French literature entered the 20th century with a firm pace.