“五四”后的中国现代作家，虽有自觉或不自觉之分，但几乎都面临着对传统文化与外来文化的抉择问题。鲁迅主张“收纳新潮，脱离旧套”，认为“没有冲破一切传统思想手法的闯将，中国是不会有真的新文艺的。”①郭沫若的《女神》一时风靡诗国，作诗者奉之若圭桌，但是它不独形 Although the Chinese modern writers after the May 4th Movement are consciously or unconsciously divided, they almost all face the choice between traditional culture and foreign culture. Lu Xun advocated “admitting the trendy and out of the old fashioned” and held that “there will be no real new art in China without breaking through all the traditional ways of thinking.” ① Guo Moruo’s “goddess” swept the poetic world for a time, Kei table, but it does not shape