色·宝音尼木和诗歌及其诗歌理论研究
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摘要
本论文是以色·宝音尼木和的诗歌作品及其诗歌理论作为研究对象,进行专题研究的硕士学位论文。
色·宝音尼木和(1902-1937)是蒙古国现代文学的奠基人之一,是著名的作家、文学理论家和社会活动家。他从1920年开始文学创作,在短暂的一生中创作了许多诗歌、散文、小说和戏剧作品,其中有《红旗》、《冬天的景色》、《苏赫巴托的旗帜》、《我们的公社》等一百五十余首诗歌,《玛拉沁道布岱》、《游向远方的金鱼》等三十余篇散文、小说。他还创作了蒙古国第一部革命剧《三多办事大臣》(1922年),继而又写了许多戏剧作品。他在创作实践的基础上不断总结经验,编写了《怎样创作文学》、《新时期文学》、《关于好来宝诗歌的规律》等文学批评文章,并用蒙古人蒙古语创作的第一部文学理论著作《文学入门》,这些作品对探索蒙古文学提出了许多富有价值的观点,丰富了蒙古现代文学理论。
由于时代和历史的原因,色·宝音尼木和的作品丢失严重,对其研究起步较晚,主要侧重于他的文学理论作品,目前在其生平研究和文论研究取得了令人瞩目的成绩,而对其作品进行专门分析研究的文章还不是很多。过去因为未能搜集到其大量诗作,所以未能全面深入研究其诗歌作品、创作实践与理论之间的内在联系。色·宝音尼木和的诗歌创作于蒙古人民革命和社会主义建设的特殊历史时期,因此研究其诗歌创作对色·宝音尼木和研究乃至蒙古现代文学研究都有重要意义。色·宝音尼木和在创作诗歌的同时,在实践中总结经验,在《文学入门》等文论作品中表达了自己对诗歌创作的一系列看法。但至今为止的研究都未能将其诗歌与诗歌理论结合起来研究。诗歌与诗歌理论是相辅相成的,因此在研究色·宝音尼木和的诗歌、诗歌理论时本人将它们一同作为研究课题,从而找到它们的内在联系。
色·宝音尼木和文学创作时期——20世纪20至40年代,正是蒙古国社会的转型时期,也是蒙古国新文学的发端时期。所以他的诗歌作品继承了蒙古族古代诗歌传统的同时发展了蒙古国现代文学。诗歌是内容与形式的统一,所以本论文从题材内容与形式的角度分析了色·宝音尼木和诗歌作品的继承发展特点。本论文在研究色·宝音尼木和的诗歌理论时与其诗歌作品、蒙古族传统文学联系在一起,全面评价了他对蒙古族文学理论做出的贡献。研究方法上本论文坚持马克思主义辩证唯物主义和历史唯物主义,运用文学批评的比较法、阐释法和归纳法,分析其诗歌的题材、内容、形式及其诗歌与诗歌理论之间的联系。
本论文由导论、第一章色·宝音尼木和诗歌题材内容的继承与发展特点、第二章色·宝音尼木和诗歌形式的继承与发展特点、第三章色·宝音尼木和诗歌理论研究、结语等五个部分构成。导论部分介绍了作者生平,阐述了论文的选题目的、研究概况、研究方法及研究意义。第一章从题材内容的角度分析了诗歌的继承发展特点,将其诗歌按题材分为革命题材诗歌、政治性民众性题材诗歌及大自然题材抒情诗歌,并对诗歌内容作了具体分析。第二章将色·宝音尼木和诗歌与蒙古族传统的口承诗歌与文人诗歌相联系,从诗歌形式、语言、修辞手法等角度分析了其诗歌的继承发展特点。第三章将色·宝音尼木和诗歌理论分为对诗歌分类的理论观点、对诗歌结构的理论观点和对诗歌创作的理论观点三个部分,全面剖析了其关于诗歌的理论,并对一些引起争议的观点提出自己的见解。结语部分对正文分析的基础上加以归纳得出以下结论:
一、20世纪20年代是色·宝音尼木和诗歌创作的第一阶段:这一阶段诗歌创作主要以革命题材为主,赞颂了蒙古人民革命和革命领袖、宣传了马克思列宁主义、爱国主义精神。20世纪30年代是色·宝音尼木和诗歌创作的第二阶段:这一阶段的诗歌创作关注了与国家和人民生活息息相关的各方面,表现了作家对祖国壮美山河的无比热爱之情。他对人民革命后民众生活的翻天覆地变化进行深入描述,表达了作者对人民革命党和社会主义国家的未来充满信心。色·宝音尼木和诗歌创作的题材也是同时期其他作家的共同主题。一方面这是由文学反映现实生活这一文学的基本规律所决定的;另一方面,当时的蒙古国中央政府一贯要求文学创作者进行文学创作时要顺应时代潮流。因此色·宝音尼木和的诗歌创作的思想内容坚持贯彻了蒙古人民革命党的各项方针和精神,身体力行地宣传着马克思列宁主义。
二、色·宝音尼木和诗歌作品在形式上娴熟地运用了蒙古族传统诗歌体裁和受印藏以及汉族诗歌影响的律诗体,传承了蒙古族口承诗歌,即赞词、颂词、谚语、谜语、英雄史诗、民歌、好来宝等艺术形式。在表现手法上色·宝音尼木和的诗歌传承了蒙古族传统诗歌惯用的排比、拟人、对偶、夸张、借代等手法,使其诗歌创作更加深入人心。在语言的运用方面,既有文言文特点又有白话文特点,体现了当时蒙古国现代文学形成时期文学作品在语言上的过渡性。色·宝音尼木和宣传革命思想时常常运用了大量的新词汇、外来词汇,同时对故有的词汇赋予了新的意义。色·宝音尼木和诗歌内容创新的根源是社会的新面貌,而形式的发展主要依靠了蒙古族悠久的诗歌传统。将传统的诗歌形式与适应时代的内容紧密结合,使诗歌作品更加深入人心,起到了良好的宣传作用。
三、色·宝音尼木和诗歌理论是其创作经验的总结。他分析了诗歌的思想内容和形式,并按不同的标准进行分类;在自己写作经验的基础上深入研究了蒙古族诗歌的形式特点;他在理论作品中写了大量的文学创作方法论,可以看出色·宝音尼木和不仅是一名优秀的诗人,更是一位优秀的文学导师,培育了新时代的文学青年。他主张文学要用艺术的语言生动描写社会现实。这与文学是客观世界的真实反映这一马克思主义文学理论的基本原则是一致的。由此可见,色·宝音尼木和不仅在世界观、价值观上受到马克思主义思想的影响、在文学理论观点上也受到了马克思主义文论的影响。
This thesis is a study of C.Buyannemeh's poetry and his theories on poetry.
C.Buyannemeh (1902-1937), famous writer, theorist and social activitist, is one of the founders of modern literature of Mongolia. He began his writing career in 1920 and created a great deal of poetries, essays, short stories and dramas in his quite short life. With his many creative techniques he composed 150 more pieces of poems like Red Flag, Winter Scenery, the Flag of Suhbaatar Square and Our Commune etc. and 30 more essays and fictions such as Shepherd Daobudai, the Golden Fish Swimming Afar. Besides, the first Mongolia's revolutionary drama, Minister Sandu (1922) is also his work and many other dramas. He accumulated many experiences through his writing practice and wrote the first Mongolian work on the theories of literature-Introduction to literature and How to create literature Work, Literature in Modern Time, On Rules of Literature are the articles in which he sought the rules of literature and proposed much valuable view to enrich Mongolian modern literature theory.
C.Buyannemeh's works have been suffering from great loss due to tempdictating and historical reasons, so the studies of his works started quite late and have focused on the theoretical works of literature. The current studies on his life and literature theory has achieved great success, but specific studies on his works are still few. Because of lack of sufficient material on his work, there are few thorough studies on his poetry work and on the intrinsic connection between his creation practice and theory study.
C.Buyannemeh's works were created in a special time of Mongolia's people's revolution and construction of socialist system so the study on his works is of significant to the study on Mongolian modern literature. C.Buyannemeh accumulated experiences during his production and expressed his ideas on poetry production in his book called Introduction to Literature, but previous researches have never combined his works and his theories. Poetry and theory on poetry complement each other, so the thesis makes both his poetries and his theories on poetry as her study object to excavate their intrinsic relation.
The period of C.Buyannemeh's creation (1920-1940) is the time of Mongolia's social transaction and also the time of origination of Mongolia's modern literature. So his poetry works not only inherit the tradition of Mongolian ancient poetry but also develop the Mongolian modern literature. Since poetry is the combination of content and form, the thesis studies the C.Buyannemeh's works' inheriting and developing characteristic from both perspectives of content and form. In analyzing his poetry theory, the thesis combines his theories with his works and at the same time it compares his theories with Mongolian traditional literature theories and Marxist literature theory thus evaluating his contribution to Mongolian literature theory comprehensively. In addition, the thesis sticks to Marxist dialectical materialism and historical materialism and adopts contrastive literary criticism, interpretation and induction to analyze his poetry theme, content, form and the intrinsic connection between his poetries and his theories on poetry.
The thesis consists of 5 parts, including introduction, Chapter One: The Inheriting and developing characteristic of C.Buyannemeh's Works' Theme, Chapter Two: The Inheriting and developing Characteristic of C.Buyannemeh's Works' Form, Chapter Three: C.Buyannemeh's Theories of Poetry and Conclusion. The introduction introduces C.Buyannemeh' s life and expounds the object, methods, significance of the study and current studies on the topic. Chapter one analyzes the inheriting and developing characteristic of poetry from the theme content's perspective and classifies his poetry's theme into three parts: revolutionary Theme poetry, political and public Theme poetry and natural Theme lyrical poetry and makes concrete analyses for each of theme. Chapter two associating his poetries with Mongolian traditional mouthpiece poetry and humanistic creative poetry analyzes his inheriting and developing characteristic from different angles such as poetry form, poetry language and pictorial representation. Chapter three dividing his theories of poetry into three part, theories on poetry classification, theories on poetry structure and theories on poetry creation, examines his theories on poetry comprehensively and proposes some new ideas on some controversial opinions. The conclusion reaches the following conclusions on the basis of analyses of the main body:
First of all, 1920s is the first stage of C.Buyannemeh's creation. The poems of this phase which make revolutionary theme as their topics eulogize Mongolian public revolution and leaders of the revolution and propagates Marxism-Leninism and patriotism. 1930s is the second stage of his creation. The poetries of this period concerns with various aspects which closely related to the country and people's life, expressing his devoted love for his country and its magnificent lands. He describes every details of the earth-shaking changes which brought by public revolution, embodying his confidence in the Mongolian People's Revolutionary Party and bright future of his socialist country. The contents and subjects of his poetry are also the contents and subjects of other writer of the same time. This is partly because of the basic rule of literature—Literature is the concentrated expression of real life. On the other side, it is due to the fact at that time, Mongolia, the Central Government consistently called for the creators of literature and literary creation to conform to the trend of the times. As a result, the ideological content of his poetry creation adheres to the Mongolian People's Revolutionary Party's principles and spirit, practicing to spread the idea of Marxism-Leninism:
Secondly, C.Buyannemeh's poetries not only skillfully adopts Mongolian traditional poetry and printed Tibetan and Han Chinese Poetry Poems affected body, but also inherits Mongolian art forms such as dictating poetry, Chan-word eulogy, proverbs, riddles, heroic epics, folk songs, Holvoo . On expression techniques, he inherits the methods usually used in Mongolian traditional poetry such as parallelism, personification, duality, exaggeration; borrow etc to make his poetries more popular. On the usage of his language, he uses both characteristics of classical Chinese vernacular and modern Chinese vernacular, reflecting the transitivity of languages of literary works during the formation of modern Mongolian literature. When propagating revolutionary thoughts he always adopts great deal of new words and foreign vocabulary and at the same time, the old words were given new meanings. At the long history of Mongolian, Mongolians has been transmitting their literary works by way of word of mouth, which later has created a fertile artistic soil for its later literary development. The Secret History of Mongols is regarded as the threshold of the Mongolian written literature, from which generation after generation of Mongolian Literature Writer left immortal chapters in Mongolian literature history. C.buyannemeh succeeds to Mongolian great traditions of poetry; meanwhile, he enriches Mongolian poetry extensively and closely accommodates the traditional forms of poetry to the content of the modern ages, which played a good advocacy role.
Thirdly, C.Buyannemeh's theories on poetry are the generalization of his creation experiences. He examines the content and form of the poetry and classifies them by different standards and conducted a thorough research on characteristics of Mongolian poetry form on the basis of his writing experience, besides, he wrote a great deal of theories on literature creation. He is not only an excellent poet; furthermore, he is also an outstanding literature tutor who is nurturing a new generation of literature. He advocates that literature should use the language of art to vividly depict the reality of society. This coincides with the basic principles of the Marxist literary theory that literature is the true reflection objective world. These facts show that Marxism has influence on not only the worldview and values of C.Buyannemeh but also on his theories on literature.
色·宝音尼木和(1902-1937)是蒙古国现代文学的奠基人之一,是著名的作家、文学理论家和社会活动家。他从1920年开始文学创作,在短暂的一生中创作了许多诗歌、散文、小说和戏剧作品,其中有《红旗》、《冬天的景色》、《苏赫巴托的旗帜》、《我们的公社》等一百五十余首诗歌,《玛拉沁道布岱》、《游向远方的金鱼》等三十余篇散文、小说。他还创作了蒙古国第一部革命剧《三多办事大臣》(1922年),继而又写了许多戏剧作品。他在创作实践的基础上不断总结经验,编写了《怎样创作文学》、《新时期文学》、《关于好来宝诗歌的规律》等文学批评文章,并用蒙古人蒙古语创作的第一部文学理论著作《文学入门》,这些作品对探索蒙古文学提出了许多富有价值的观点,丰富了蒙古现代文学理论。
由于时代和历史的原因,色·宝音尼木和的作品丢失严重,对其研究起步较晚,主要侧重于他的文学理论作品,目前在其生平研究和文论研究取得了令人瞩目的成绩,而对其作品进行专门分析研究的文章还不是很多。过去因为未能搜集到其大量诗作,所以未能全面深入研究其诗歌作品、创作实践与理论之间的内在联系。色·宝音尼木和的诗歌创作于蒙古人民革命和社会主义建设的特殊历史时期,因此研究其诗歌创作对色·宝音尼木和研究乃至蒙古现代文学研究都有重要意义。色·宝音尼木和在创作诗歌的同时,在实践中总结经验,在《文学入门》等文论作品中表达了自己对诗歌创作的一系列看法。但至今为止的研究都未能将其诗歌与诗歌理论结合起来研究。诗歌与诗歌理论是相辅相成的,因此在研究色·宝音尼木和的诗歌、诗歌理论时本人将它们一同作为研究课题,从而找到它们的内在联系。
色·宝音尼木和文学创作时期——20世纪20至40年代,正是蒙古国社会的转型时期,也是蒙古国新文学的发端时期。所以他的诗歌作品继承了蒙古族古代诗歌传统的同时发展了蒙古国现代文学。诗歌是内容与形式的统一,所以本论文从题材内容与形式的角度分析了色·宝音尼木和诗歌作品的继承发展特点。本论文在研究色·宝音尼木和的诗歌理论时与其诗歌作品、蒙古族传统文学联系在一起,全面评价了他对蒙古族文学理论做出的贡献。研究方法上本论文坚持马克思主义辩证唯物主义和历史唯物主义,运用文学批评的比较法、阐释法和归纳法,分析其诗歌的题材、内容、形式及其诗歌与诗歌理论之间的联系。
本论文由导论、第一章色·宝音尼木和诗歌题材内容的继承与发展特点、第二章色·宝音尼木和诗歌形式的继承与发展特点、第三章色·宝音尼木和诗歌理论研究、结语等五个部分构成。导论部分介绍了作者生平,阐述了论文的选题目的、研究概况、研究方法及研究意义。第一章从题材内容的角度分析了诗歌的继承发展特点,将其诗歌按题材分为革命题材诗歌、政治性民众性题材诗歌及大自然题材抒情诗歌,并对诗歌内容作了具体分析。第二章将色·宝音尼木和诗歌与蒙古族传统的口承诗歌与文人诗歌相联系,从诗歌形式、语言、修辞手法等角度分析了其诗歌的继承发展特点。第三章将色·宝音尼木和诗歌理论分为对诗歌分类的理论观点、对诗歌结构的理论观点和对诗歌创作的理论观点三个部分,全面剖析了其关于诗歌的理论,并对一些引起争议的观点提出自己的见解。结语部分对正文分析的基础上加以归纳得出以下结论:
一、20世纪20年代是色·宝音尼木和诗歌创作的第一阶段:这一阶段诗歌创作主要以革命题材为主,赞颂了蒙古人民革命和革命领袖、宣传了马克思列宁主义、爱国主义精神。20世纪30年代是色·宝音尼木和诗歌创作的第二阶段:这一阶段的诗歌创作关注了与国家和人民生活息息相关的各方面,表现了作家对祖国壮美山河的无比热爱之情。他对人民革命后民众生活的翻天覆地变化进行深入描述,表达了作者对人民革命党和社会主义国家的未来充满信心。色·宝音尼木和诗歌创作的题材也是同时期其他作家的共同主题。一方面这是由文学反映现实生活这一文学的基本规律所决定的;另一方面,当时的蒙古国中央政府一贯要求文学创作者进行文学创作时要顺应时代潮流。因此色·宝音尼木和的诗歌创作的思想内容坚持贯彻了蒙古人民革命党的各项方针和精神,身体力行地宣传着马克思列宁主义。
二、色·宝音尼木和诗歌作品在形式上娴熟地运用了蒙古族传统诗歌体裁和受印藏以及汉族诗歌影响的律诗体,传承了蒙古族口承诗歌,即赞词、颂词、谚语、谜语、英雄史诗、民歌、好来宝等艺术形式。在表现手法上色·宝音尼木和的诗歌传承了蒙古族传统诗歌惯用的排比、拟人、对偶、夸张、借代等手法,使其诗歌创作更加深入人心。在语言的运用方面,既有文言文特点又有白话文特点,体现了当时蒙古国现代文学形成时期文学作品在语言上的过渡性。色·宝音尼木和宣传革命思想时常常运用了大量的新词汇、外来词汇,同时对故有的词汇赋予了新的意义。色·宝音尼木和诗歌内容创新的根源是社会的新面貌,而形式的发展主要依靠了蒙古族悠久的诗歌传统。将传统的诗歌形式与适应时代的内容紧密结合,使诗歌作品更加深入人心,起到了良好的宣传作用。
三、色·宝音尼木和诗歌理论是其创作经验的总结。他分析了诗歌的思想内容和形式,并按不同的标准进行分类;在自己写作经验的基础上深入研究了蒙古族诗歌的形式特点;他在理论作品中写了大量的文学创作方法论,可以看出色·宝音尼木和不仅是一名优秀的诗人,更是一位优秀的文学导师,培育了新时代的文学青年。他主张文学要用艺术的语言生动描写社会现实。这与文学是客观世界的真实反映这一马克思主义文学理论的基本原则是一致的。由此可见,色·宝音尼木和不仅在世界观、价值观上受到马克思主义思想的影响、在文学理论观点上也受到了马克思主义文论的影响。
This thesis is a study of C.Buyannemeh's poetry and his theories on poetry.
C.Buyannemeh (1902-1937), famous writer, theorist and social activitist, is one of the founders of modern literature of Mongolia. He began his writing career in 1920 and created a great deal of poetries, essays, short stories and dramas in his quite short life. With his many creative techniques he composed 150 more pieces of poems like Red Flag, Winter Scenery, the Flag of Suhbaatar Square and Our Commune etc. and 30 more essays and fictions such as Shepherd Daobudai, the Golden Fish Swimming Afar. Besides, the first Mongolia's revolutionary drama, Minister Sandu (1922) is also his work and many other dramas. He accumulated many experiences through his writing practice and wrote the first Mongolian work on the theories of literature-Introduction to literature and How to create literature Work, Literature in Modern Time, On Rules of Literature are the articles in which he sought the rules of literature and proposed much valuable view to enrich Mongolian modern literature theory.
C.Buyannemeh's works have been suffering from great loss due to tempdictating and historical reasons, so the studies of his works started quite late and have focused on the theoretical works of literature. The current studies on his life and literature theory has achieved great success, but specific studies on his works are still few. Because of lack of sufficient material on his work, there are few thorough studies on his poetry work and on the intrinsic connection between his creation practice and theory study.
C.Buyannemeh's works were created in a special time of Mongolia's people's revolution and construction of socialist system so the study on his works is of significant to the study on Mongolian modern literature. C.Buyannemeh accumulated experiences during his production and expressed his ideas on poetry production in his book called Introduction to Literature, but previous researches have never combined his works and his theories. Poetry and theory on poetry complement each other, so the thesis makes both his poetries and his theories on poetry as her study object to excavate their intrinsic relation.
The period of C.Buyannemeh's creation (1920-1940) is the time of Mongolia's social transaction and also the time of origination of Mongolia's modern literature. So his poetry works not only inherit the tradition of Mongolian ancient poetry but also develop the Mongolian modern literature. Since poetry is the combination of content and form, the thesis studies the C.Buyannemeh's works' inheriting and developing characteristic from both perspectives of content and form. In analyzing his poetry theory, the thesis combines his theories with his works and at the same time it compares his theories with Mongolian traditional literature theories and Marxist literature theory thus evaluating his contribution to Mongolian literature theory comprehensively. In addition, the thesis sticks to Marxist dialectical materialism and historical materialism and adopts contrastive literary criticism, interpretation and induction to analyze his poetry theme, content, form and the intrinsic connection between his poetries and his theories on poetry.
The thesis consists of 5 parts, including introduction, Chapter One: The Inheriting and developing characteristic of C.Buyannemeh's Works' Theme, Chapter Two: The Inheriting and developing Characteristic of C.Buyannemeh's Works' Form, Chapter Three: C.Buyannemeh's Theories of Poetry and Conclusion. The introduction introduces C.Buyannemeh' s life and expounds the object, methods, significance of the study and current studies on the topic. Chapter one analyzes the inheriting and developing characteristic of poetry from the theme content's perspective and classifies his poetry's theme into three parts: revolutionary Theme poetry, political and public Theme poetry and natural Theme lyrical poetry and makes concrete analyses for each of theme. Chapter two associating his poetries with Mongolian traditional mouthpiece poetry and humanistic creative poetry analyzes his inheriting and developing characteristic from different angles such as poetry form, poetry language and pictorial representation. Chapter three dividing his theories of poetry into three part, theories on poetry classification, theories on poetry structure and theories on poetry creation, examines his theories on poetry comprehensively and proposes some new ideas on some controversial opinions. The conclusion reaches the following conclusions on the basis of analyses of the main body:
First of all, 1920s is the first stage of C.Buyannemeh's creation. The poems of this phase which make revolutionary theme as their topics eulogize Mongolian public revolution and leaders of the revolution and propagates Marxism-Leninism and patriotism. 1930s is the second stage of his creation. The poetries of this period concerns with various aspects which closely related to the country and people's life, expressing his devoted love for his country and its magnificent lands. He describes every details of the earth-shaking changes which brought by public revolution, embodying his confidence in the Mongolian People's Revolutionary Party and bright future of his socialist country. The contents and subjects of his poetry are also the contents and subjects of other writer of the same time. This is partly because of the basic rule of literature—Literature is the concentrated expression of real life. On the other side, it is due to the fact at that time, Mongolia, the Central Government consistently called for the creators of literature and literary creation to conform to the trend of the times. As a result, the ideological content of his poetry creation adheres to the Mongolian People's Revolutionary Party's principles and spirit, practicing to spread the idea of Marxism-Leninism:
Secondly, C.Buyannemeh's poetries not only skillfully adopts Mongolian traditional poetry and printed Tibetan and Han Chinese Poetry Poems affected body, but also inherits Mongolian art forms such as dictating poetry, Chan-word eulogy, proverbs, riddles, heroic epics, folk songs, Holvoo . On expression techniques, he inherits the methods usually used in Mongolian traditional poetry such as parallelism, personification, duality, exaggeration; borrow etc to make his poetries more popular. On the usage of his language, he uses both characteristics of classical Chinese vernacular and modern Chinese vernacular, reflecting the transitivity of languages of literary works during the formation of modern Mongolian literature. When propagating revolutionary thoughts he always adopts great deal of new words and foreign vocabulary and at the same time, the old words were given new meanings. At the long history of Mongolian, Mongolians has been transmitting their literary works by way of word of mouth, which later has created a fertile artistic soil for its later literary development. The Secret History of Mongols is regarded as the threshold of the Mongolian written literature, from which generation after generation of Mongolian Literature Writer left immortal chapters in Mongolian literature history. C.buyannemeh succeeds to Mongolian great traditions of poetry; meanwhile, he enriches Mongolian poetry extensively and closely accommodates the traditional forms of poetry to the content of the modern ages, which played a good advocacy role.
Thirdly, C.Buyannemeh's theories on poetry are the generalization of his creation experiences. He examines the content and form of the poetry and classifies them by different standards and conducted a thorough research on characteristics of Mongolian poetry form on the basis of his writing experience, besides, he wrote a great deal of theories on literature creation. He is not only an excellent poet; furthermore, he is also an outstanding literature tutor who is nurturing a new generation of literature. He advocates that literature should use the language of art to vividly depict the reality of society. This coincides with the basic principles of the Marxist literary theory that literature is the true reflection objective world. These facts show that Marxism has influence on not only the worldview and values of C.Buyannemeh but also on his theories on literature.
引文
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