1920年代,象征理论在中国已有所传播。1930年代现代派具有创造性的思考主要体现在中国传统文论的比、兴与西方象征的关系和异同上;梁宗岱“兴”说的“依微而拟议”解的深刻意义,“象征”与“兴”中各自的“象”与“意”关系的理论;提出了象征里有关象的有形与意的无形、象的有限与意的无限、象的刹那与意的永恒的美学意义等;梁宗岱、穆木天等对法国象征主义即波德莱尔的契合论思想的理解,以及对象征主义的意象网络的清晰性与终极意义的暧昧性之统一的理解,还涉及象征主义的诗语的命题。 In the 1920s, symbolism was already spread in China. The creative thinking of the modernists in the 1930s was mainly reflected in the relationship between the traditional Chinese literary theory and the Western symbolism and its similarities and differences. The profound meaning of the “micro-proposition” solution proposed by Liang Zongdai in “Xing” The theory of the relationship between “” and “meaning ” in “Symbol” and “Xing”; put forward the intangible, The eternal aesthetic meaning of moment and meaning, etc .; Liang Zongdai, Mu Mutian et al., The understanding of the French symbolism, Baudelaire’s theory of fit theory, and the ambiguity of the clarity and ultimate meaning of the symbolism image network Uniform understanding also involves the proposition of Symbolism’s poetic language.