5?4 ?? ???? ?? ??? ¡ª 1918? ºúßm? ÉòÒüĬ? ?? ?? ???? (Intellectual poetry aesthetics appeared in the May Fourth Movement -focusing on poems by Hu Shi and Shen Yinmo in 1918)

? ??? 1918?? ¡º???¡»?? ??? ??? ????, ??? ???? ??? ??? ?? ????? ???. ¡º???¡»? ???? ?? ?? ??? ???? ???? ?? ??? ?? ??????, ?? ???? ??? ???? ???. ??? ??? ?? ???? ?? ¡®???¡¯?? ?? ??? ?????, ?? ??? ??? ??? ?? ??? ?? ¡¸???¡¹?? ??? ?? ??.
??? ?? ???? ?? ??? ?? ?? ??, ? ??? ???? ?? ??? ?? ?? ???? ?? ??? ???? ?? ?? ??? ???. ??? ? ??? ?? ?? ??? ?? ??? ???? ?? ??? ???? ??? ?? ? ???????, ????? ? ?? ???? ????? ???.
??? ???? ???? ???? ??? ??? ????, ??? ? ??? ?? ???? ??? ?? ???, 1918??? ??? ??? ???? ???? ???. ??? ?? ?? ? ??? ??? ?? ??? ?? ??? ?? ??? ??? ??? ?? ??, ??? ?? ??? ??? ???, ??? ?? ? ??? ??? ???? ??? ???? ??? ???. ?? ????? ????? ??? ?? ??? ???? ?, ?? ?? ? ??? ???? ????? ?? ???? ?? ????? ?? ??? ?? ? ?? ???.

This paper attempted to examine the poetry aesthetics pursued by Hu Shi(ºúßm)and Shen Yinmo(ÉòÒüĬ), focusing on the New Poetry(ÐÂÔŠ) published in New Youth(ÐÂìiÄê) during the May Fourth Movement period. In the process of developing various literary actions, the editorial department of the New Youth also founded the New Poetry movement, with Hu Shi and Shen Yinmo as its main pillars. In their first introduction of the New Poetry, they chose the same topic of ¡°Pigeon¡± and later Hu Shi borrowed almost identical expressions from Shen Yinmo and published a poem called "Crow."
They chose co-creation on the same topic in the creating process, that is, they sought to enable various exploration paths for New Poetry. Furthermore, Hu Shi, who wanted to avoid the use of worn-out old clich¨¦s while creating poetry, tried to prove the artistry of poetry written in vernacular Chinese by expanding and reproducing Shen Yinmo's interpretation.
In the process of electing the director of Educational Affairs, their relationship slowly drifted apart and this influenced the creation of their later poems. Previously in 1918, before the forementioned election, they had shown a similar aesthetic view in their writings. With the need to write poems about social difficulties and the need to create novel expressions, they laid the foundation for the New Poetry styling and set a milestone in the process of expanding the space for creation and distribution of it. Examining the poems, the way they were created, and the aesthetic viewpoints of protagonists who led the New Poetry Movement will help us better understand modern Chinese literature in its early days.