Abstract: In the history of the Qing Dynasty’s poetry, the mid-Sichuan area was in the weak link. For two hundred years, only Xian Zhu of the early Qing Dynasty and Li Diaoyuan of the mid-Qing Dynasty had gained some kind of popularity. In the late Qing Dynasty and the early National Republic of China, Sichuan poet group suddenly came to the fore. In this paper, by analyzing the works from Bao Zhu, Zhao Xi, Feng Jiang, Li Muxuan, Lin Sijin and Zhou Andeng, while highlighting their distinct characteristics, we would intend to show the overall style of this period in Sichuan Poetic Circles. Zhao Xi, faced with the hard times, whose so-called‘not knowing but just do it’,‘profess to be above politics and worldly’is not to be understood first, followed by the fact that his art style is not bound to a particular faction but seek the plea of fitness, eventually became the master of West Sichuan. Lin Sijin’s sentiments led to his creating lots of poets on the pastoral theme, among them were large numbers of masterpieces, which fully made‘the pastoral poetry’enjoyable dating back to Xin Jiaxuan, Chen Jialing, Lu Zhen and Zheng Xie. Zhou Andeng’s works, though, had the flaws of being inevitably obscure and curious, he was devoted to the poet-making, daring to cast big topics, and his style also sought to change. Indeed, his talent couldn’t be expressed completely. However, he still ranked second for five decades in Mid-Sichuan. The writers above constitute the main creative group of Sichuan Poetic Circles in the late Qing Dynasty and the early National Republic of China.
Key words: Sichuan; poetic circles; the late Qing Dynasty and the early National Republic of China; creative group component
The Chinese version appeared in Journal of Jilin Normal University, 2014(3).