As far as Lin Zixuan knows, Shen Yanbing attached great importance to Bingxin when he edited "Novel Monthly".

In January 1921, he took over the first issue of the "Novel Monthly" for innovation, and ranked Bingxin's short story "Laughter" in the first article in the "Creation" column, which is difficult to imagine in the literary world that pays attention to seniority.

Subsequently, Bingxin's novel "Superman" was still ranked first in the "Creation" column.

Including Wang Tongzhao, Zhu Ziqing, Sun Menglei, Luo Peanut, Ms. Luyin, and Ye Shengtao are all ranked behind Bingxin.

That's not all, Shen Yanbing also opened a special "Readers' Comments" column to discuss Bingxin's novels.

The first collection of poems in the "Literary Research Society Series" published by the Commercial Press was Bing Xin's "Stars".

The first collection of novels in the "Literary Research Society Series" also belonged to Bing Xin, namely the short story "Superman" published by the Commercial Press in May 1923.

It can be said that such a large page and a large number of comments in "Novel Monthly" made Bingxin famous in one fell swoop.

The relationship between writers, literature, and literary journals can be seen here.

It is an important issue for literary journals to promote writers who can represent their own literary ideas, so as to promote the development of their own publications.

Bing Xin's novels can represent the literary concept of the Literature Research Society, so they have been strongly recommended by the "Novel Monthly", and Bing Xin's novels have brought a large number of readers to the "Novel Monthly".

It's a win-win situation.

Bing Xin is a representative writer of "problem novels" in this era.

In the second half of 1919, she published "The Man is Alone and Haggard" in the "Morning Post Supplement", which officially created a creative atmosphere for problem novels.

Generally speaking, any person who is explicitly exposed to a certain social reality or life phenomenon. Novels that consciously ask questions, or even try to answer them, can be called "problem novels."

This kind of novel includes social issues such as freedom of personality, love and marriage, ethics and morality, and women's emancipation.

Other works deal with the suffering of working people, the scourge of warlordism, children's problems, education issues, labor issues, and so on.

This is exactly what the Literary Research Society advocates: "Literature should reflect the phenomenon of society." and discuss some general issues of life".

So, "Novel Monthly" found Bing Xin as the spokesperson for their literary proposition.

Lin Zixuan also needed to find a spokesperson for Crescent Magazine. In terms of the magazine's poetry positioning, the spokesperson should be a poetess and a beauty.

Whatever one may say, in society, beautiful women are always treated preferentially.

For example, when reading a novel, if you know that the author is a beautiful woman, then the reader's mood is definitely different, which is human nature.

Lin Huiyin is undoubtedly the best choice.

Lin Zixuan plans to launch a column in New Moon magazine called "April Day in the World". Specially published Lin Huiyin's poems and essays, and praised her as the first female poet of the Republic of China.

With this gimmick, don't be afraid that the magazine won't sell.

Even Guo Moruo knows this method, and his creation club has also launched a female writer named Feng Yuanjun.

This is also a talented girl, with a family history, she likes to read ancient texts since she was a child, especially Tang poetry, and can compose poems and lyrics at the age of twelve.

1922 year. She graduated from the Department of Chinese Literature of Beijing Women's Higher Normal School and was admitted to the graduate school of Peking University, where she studied Chinese classical literature.

In 1923, he began to write novels, and published novels such as "Travel", "Isolation" and "After Isolation" in the "Creation Quarterly" and "Creation Weekly" under the pseudonym Ms. Gan.

Her novels, full of bold descriptions and rebellion against old rituals, have shocked many readers.

These women can be said to be the first generation of female writers in China after the May Fourth Movement. Most of the novels they write are "problem novels" that reflect social reality.

Lin Zixuan couldn't help but think of Ding Ling, who loved to make movies.

Ding Ling is a second-generation female writer after the May Fourth Movement, and she pays more attention to women's own problems, such as "Mengke" and "Ms. Shafei's Diary".

Later, Xiao Hong was a genius novelist. She has created a unique genre of fiction.

That is the prose culture of the novel, and there is no trace of intentional carving in the language in her novels. Naturally, it contains a kind of childish and simple beauty. A unique and mellow mood, which has become an important feature of the narrative style of "Xiao Hongti" novels.

As for Zhang Ailing, she is the master of Shanghai-style romance novels.

Her novels have little to do with new literature, but come directly from the influence of classical Chinese literature, and she writes about a real and illusory Shanghai.

These women writers can be said to have made them by the times, and they have written about the times.

On December 10, 1923, the inaugural issue of New Moon magazine was launched nationwide, setting off a great discussion about the new poems.

Some people think that the so-called rhythmization of new poetry is to put shackles on new poetry, to reshackle the "nature" and "freedom" of new poetry, and to regress new literature.

There are also those who agree that the reason why poetry is not a novel or prose is because it should have a melody, a rhythm, not too loose and unrestrained.

In fact, this is the debate between "free-form new poetry" and "rhythmic new poetry".

Guo Moruo's "Goddess" is a representative work of free-form new poetry, and his poems are completely determined according to the feelings expressed by himself, with indefinite stanzas and lines, and no fixed format for rhyme.

Or he can write as much as he wants, as long as he can express his feelings.

The rhythmization of poetry advocated by Xu Zhimo requires poetry to have a certain rhythm, rhyme, and musicality.

The poetic propositions of the two are very different.

Lin Zixuan did not participate in the controversy, he knew that this controversy did not disappear until later generations, but in later generations, neo-metrical poetry was on the margins, and free verse occupied the mainstream.

This is not only because free verse best embodies the spirit of freedom in new poetry, and is the most open and inclusive.

It was also because neo-metrical poetry was more difficult to write and free verse was easier to write, so there were fewer and fewer poets who wrote neo-metrical poetry, but poetry had long since declined by then, and poets were not valuable.

Lu Xun said in 1934: "Although there are two kinds of poetry, the one that is seen and the one that is sung by the mouth, and the latter is better, it is a pity that the new Chinese poetry is probably the former." Without rhythm, without rhyme, it can't be sung; If you can't sing, you can't remember; If you can't remember it, you can't squeeze the old poem out of people's minds and occupy its place. ”

This may explain the decline of poetry in later generations, because there is no rhyme, so the reader simply cannot remember it.

In this issue of "Crescent" magazine, some people also noticed Lin Huiyin's name, although the poems are average, but she is a female poet with a family background.

Because his father held an important position in the Beiyang government, Lin Huiyin was quite famous in Beiping.

Lin Zixuan gave her a special recommendation and trained her to become the spokesperson of "New Moon" magazine. (To be continued.) )