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本文认为，４０年代的总体时代氛围是“严肃”。“严肃”的时代呼唤着现代主义诗歌对象征主义的自觉反思和力图超越，这种反思和超越暗合或受影响于西方现代主义诗歌的发展趋势，也与新诗发展中存在的种种问题紧密相关。象征主义的情绪感伤性和逃避现实人生倾向是反思的两个主要焦点。卞之琳、冯至的诗歌创作承前启后，昭示了４０年代现代主义诗歌师承重点（里尔克、奥登）和诗风（从感性到知性）的变化。中国新诗派诗人延续并深化了这一反思和超越的意向，致力于“新诗现代化”的自觉追求。
This article argues that the general atmosphere of the 1940s was “serious.” The era of “seriousness” calls for the modernistic poetry to consciously reflect on and attempt to transcend symbolism. This trend of reflection and surpassing or affecting Western modernist poetry is also closely linked to the problems existing in the development of modern poetry. Emotional sentiment of symbolism and escapism in real life are the two main focuses of reflection. After Bian Zhilin and Feng Zhi’s poems were written, the changes of bearing points of modernist poetry writers (Rilke, Auden) and poetic style (from perceptual to intellectual) in the 1940s were revealed. The poets of Chinese neo-poetic schools continue and deepen this intention of reflection and surpassing, devoting themselves to the conscious pursuit of “modernization of new poems.”