The Interactive Relationship between Guo Moruo’s Poetry Translation and Creation from the Perspective of Intertextuality

As an important writer in the history of modern Chinese literature, Guo Moruo has many works in both poetry translation and poetry creation. The poems written and translated by Guo within the period of his Goddess (from 1919 to August 1921) are selected to analyze the interaction between his poetry translation and creation from the perspective of intertextuality. There is intertextuality in literary thought: pantheism, spirit of the times, romanticism; intertextuality in themes and images; intertextuality in poetic form: use of foreign words, quotations from foreign poetry and attempts at modern poetry.


Introduction
Guo Moruo is one of the most important figures in the history of modern Chinese literature, and he has won widespread praise for his outstanding literary talent and political theoretical achievements.As a poet with strong nationalist sensibilities and social realist tendencies, Guo has made extraordinary contributions to poetry translation and creation, and is considered to be the culmination of Chinese poetry translation during the May 4 th Movement.Guo is proficient in many Chinese languages, translates foreign masterpieces, disseminates new cultural concepts, and promotes the reform of Chinese literature.In 1914, Guo went to Japan to study, during which time he began to come into contact with foreign writers such as Goethe, Shakespeare, Whitman, and Tagore.In 1917, Guo began translating Tagore"s poems, and since then he has been a translator.Later, his translation of the poetic drama Faust also had a great influence.Through a large number of translation practices, Guo has also formed his own translation theory, especially in poetry translation, Guo proposed "Fengyun translation(风韵译) " and insisted on "poets translating poems(诗人译诗)".In addition to his translation practice, Guo has also carried out a large number of creations in various fields, and in terms of poetry creation, Guo has also achieved fruitful results, the most famous of which is Goddess.Taking this period as an example, this paper selects Guo"s poetry creation and translation from 1919 to August 2021, and discusses the interactive relationship between Guo"s poetry translation and creation from the perspective of intertextuality.

Literature Review
As for the intertextuality relationship between Guo"s translation and creation, scholars have mainly analyzed and studied the influence of translation on his creation as a whole, the influence of his poetry translation on his creation, and the influence of drama translation on his creation.This study mainly reviews the research on the influence of Guo"s translation on his creation as a whole and the research on the influence of Guo"s poetry translation on his poetry creation.
For example, Ding (2000) used specific textual examples to demonstrate the influence of translation on Guo"s poetry and drama, which greatly benefited from the translation of foreign literature.Based on the content, Tan (2013) analyzed technique and style of Guo"s creation, and the influence of his translation on hid creation, and points out that Guo formed his own creative discourse in translation.Zhang (2015), examined the relationship between Guo"s early study of medicine, translation and creation, and argues that these three aspects of Guo are complementary to each other, in the order of learning first, then translation, and then creation.Jiang and Guo (2007) took Hu Shi and Guo as examples to point out that the interaction between poetry translation and poetry creation is also influenced by the macro influence and potential role of the socio-cultural and literary system.Zeng (2010) analyzed the influence of Guo"s translation activities on his early new poetry creation from the aspects of form and content, and argued that in terms of form, Guo retains the nationalization element while practicing free entities, mainly using vernacular Chinese; in terms of content, Guo has absorbed a lot of useful ingredients from the translation in terms of mood and thought.From the perspective of literary psychology, Feng (2013) analyzed the influence of Guo"s translation practice on his creation, especially the writing forms and techniques, such as the writing of new poems and the use of writing techniques such as borrowing from the past and the present, as well as the content and ideas of his creation.
Whether it is poetry translation, drama translation or overall translation activities, Guo"s translation practice has influenced Guo"s creation in many ways, and some scholars have analyzed the works of other writers and translators with dual identities from the perspective of intertextuality, but no scholar has analyzed the influence of Guo"s translation practice on his creation from the perspective of intertextuality, which is the core of this study.

Intertextuality
As a landmark discourse of poststructuralism and postmodernism, intertextuality has attracted the attention of many scholars in recent years.In general, it is generally accepted that the French scholar Jylia Kristeva first proposed the concept of intertextuality.In 1967, she published her essay "Words, Dialogue, and Novel" in the journal Semeiotike, in which she first proposed the concept of intertextuality.In 1968, Kristeva presented his thesis "The Problem of the Structuring of Texts" at the symposium "Linguistics and Literature" in Cluny, in which she independently discussed the mechanism of intertextuality.Generally speaking, this is the foundational article of the theory of generalized intertextuality (Qin, 2006).However, after it was put forward at that time, the concept of intertextuality was only a marginal discourse in the overall academic context of France, and Kristeva"s ideological system was relatively complex, and her works were very difficult to understand in terms of content and language, so the influence of intertextuality theory was relatively limited at that time, and then it was Roland who promoted the wide dissemination and rheology of intertextuality theory (Qin, 2004).Barthes" legitimacy was given in his paper "The Theory of Text", and it was only then that it began to be accepted by theorists in various fields, and adjusted, revised, and interpreted.
The French word "intertextualité" coined by Kristeva and "intertextuality" in English derives from the Latin word "intertexto", which can be divided into two parts, "inter" means each other, between each other and "texto" means braid, so the word originally referred to the mixing and interweaving between threads when weaving, which is a kind of crossing without a fixed direction, a kind of network structure (Qu, 2021).From its initial conception by Kristeva to its roots in the French academic community and its subsequent attention, intertextuality is not only a theoretical concept in the study of literature or semiotics, but also involves other fields of the humanities, such as linguistics, translation, aesthetics, etc. Intertextuality generally refers to the dependence of one text on other texts for the generation and understanding of one text (Guo, 1983a).The theory of generalized intertextuality is mainly represented by Kristwa and Barthes, whose concept of intertextuality considers that any text is intertextual, which is a typical generalized intertextuality, and is a high-level summary of the basic characteristics of literary and cultural texts (Qin, 2004).In the theory of intertextuality in a broad sense, intertextuality refers to the interaction between literary works and social history (text), that is, literary texts are the reading and rewriting of social texts (Qin, 2006).Intertextuality in a broad sense is the definition of literature or literariness in terms of intertextuality, that is, intertextuality is regarded as the basic feature and universal principle of all literary texts (Qin, 2006).Kristwa"s concept of intertextuality is based on pantextualism (Qin, 2004).In his 1969 book Semiotics: A Study in Semantic Analysis, Kristwa gave a general definition of intertextuality: the author-reader is regarded as the horizontal axis, and the text-background is regarded as the vertical axis, which coincides to reveal the fact that a word/text is a reproduction of another word/text, and that at least another word/another text can be read in a word/text.In Bakhtin"s view, the two axes are conversational and semantic puns, and there is no clear difference between the two.Bakhtin finds that the distinction between them is not strict, and Bakhtin is the first to mention it in literary theory: the writing of any text is like putting together a color picture of quotations, and any text is the absorption and transformation of other texts (Luo, 2006).
In this paper, the concept of intertextuality in the broad sense is used to explain the relationship between Guo"s poetry translation activities and his poetry creation.

Poetry Source
In this study, Guo"s creation and translation of the Goddess period from 1919 to August 1921 is taken as an example, and the selected texts are all the poems in Goddess (except "The Temptation of Death(死的诱惑)" (written in the summer of 1918)) and "New Life(新生)" (written on April 1, 1910)), and also include other poems written by Guo during this period that were not included in the Goddess, such as "Shepherd"s Song(牧羊曲)" and "Xie Fanglin(谢芳邻)", etc., during which the poems are created as shown in Table 1: As can be seen from Table 1, Guo"s poetry creation was very large during this period, except for 12 old style poems written by Guo in 1919, Guo"s creation in the rest of the time was basically new poems.
Between 1919 and August 1921, Guo was also working on the translation of foreign poems at the same time, as shown in Table 2: The sources and data of this paper are selected from the "Guo Research Materials" in Complete Compilation of Chinese Literary History Materials: Modern Volume, Goddess and Other Poems(first edition), and Guo's Poetry Collection in the, selecting the poems created from 1919 to August 1921.The acquisition of the texts of Guo"s translated works mainly came from consulting the newspapers published at that time, but due to the long period of time, the texts such as "Faust", "Out of the Rolling Ocean the Crowd" and "Die Götter Griechenlandes Mütter" are selected.

The Interactive Relationship between Guo's Poetry Translation and Creation
Based on the theory of intertextuality and the collation of Guo"s poetry translation and creation texts, it can be seen that there is a certain intertextual relationship between Guo"s poetry translation and creation, which is mainly reflected in three aspects: literary thought, creative theme and poetry form.

Intertextuality of Literary Thoughts
In order, the works that Guo read at that time were those of Tagore first, then Heine, Whitman, Shelly and Goethe (Guo, 1983b).These readings and translated works had a great influence on Guo.Guo himself mentioned that the literary thoughts in his creation were influenced by his thoughts on poetry translation.The intertextuality of literary thoughts is mainly reflected in three aspects: pantheism, spirit of the times and romanticism.

Pantheism
Guo originally liked Zhuangzi, and later read and translated Tagore"s works, and under Tagore"s influence he felt the thought of pantheism.It is also closer to the works of the great European philosopher Spinoza and the poetic works of the great German poet Goethe.Guo translated Goethe"s Faust, and it is generally believed that Faust clearly embodies the idea of pantheism.In Faust, the author used many natural scenes that contain huge energy in nature, such as the earth, thunder, lightning, etc. Goethe believed that divine power is not omnipotent, and that various gods have their own strengths.Therefore, there is no God who can dominate everything.In Goethe"s mind, God exists in all things in nature.Guo"s creations also have the hints of pantheism.In addition to many images of this kind of natural force in his poetic works, he also specially created a poem "Three Pantheists", mentioning three pantheists, namely Zhuangzi of China and Spinoza of the Netherlands and Kabir of India, and expressing the poet"s agreement with the philosophical thoughts of these three pantheists.The language of poetry is simple, fresh and easy to understand.

Spirit of Time
Under the general environment at that time, Guo also longed for the rejuvenation of the Chinese nation and consciously expressed it in "Rebirth of the Goddess" and "Phoenix Nirvana"."Heavenly Hound" was written after the May 4th Movement.Guo himself mentioned that "Heavenly Hound" should also be seen in connection with "Phoenix Nirvana" and "Rebirth of the Goddess".They all express the resistance against the old society and opposition to the old society and the longing for a new society, however, at that time, the poet did not have a clear understanding of what kind of new society it was, so it was inevitably individualistic in nature.Most of the poems created during this period were in line with the sentiments of the May 4th Movement at that time."The transition from the old to the new" seemed to be the main theme of that era.This is reflected in "死了的宇宙更生了" in "Phoenix Nirvana", and also there is "晨安！我年轻的祖国呀！晨安！我新生的同胞呀！" in "Good Morning".These are all in line with the theme of "awakening" and "rebirth" at that time.Whitman"s poems often break the rules in a way that coincides with the enterprising spirit of the May 4th Movement reflected in Guo"s works.
"Die Götter Griechenlandes Mütter" translated by Guo is selected from a poem in the novel Immensee that was popular among young readers during the May 4th Movement.The theme of the novel is to oppose arranged marriage and advocate free love.This was also consistent with the spirit of the times in China at that time.

Romanticism
The poems written by Guo from 1919 to August 1921 are all full of romanticism.In form, they are no longer limited by the number of words of traditional poetry.They pursue a free and open poetic style, and their emotions are mainly expressed in the form of explosive emotional catharsis.In terms of expression techniques, the self is highlighted.The images in "Goddess", "Heavenly Hound" and "Phoenix Nirvana" all reflect the poet"s pursuit of freedom, and also convey his self-emotion and rebellious spirit; in addition, in these works, the poet also created many vivid and unique literary images, especially using images of all things in nature to express emotions.In terms of language, the whole poem is bright, and the poet creates based on his emotional impulses, and also uses various rhetorical techniques, which form a very strong impact.

Intertextuality of Creative Themes
The intertextuality of the creative theme is mainly reflected in the two aspects of the creative theme and the use of imagery.

Theme
During this period, Guo"s poetry creation themes mainly focused on expressing his patriotism and personality liberation.The titles of "Rebirth of the Goddess" and "Phoenix Nirvana" both reflect the author"s desire for his country to be reborn.In "Phoenix Nirvana", Guo first presents to readers an old world: lifeless, with only ice and snow and cold winds.When the phoenix is thrown into the fire, all birds think that the phoenix will die and they will become the king of birds.However, the phoenix was reborn in the raging fire.Therefore, through the allusion of the Phoenix"s rebirth, Guo expressed his inner denial and disdain for the old world, as well as his yearning and pursuit of the new world."Heavenly Hound" is a representative work of his pursuit of personal liberation.The poet calls himself "Heavenly Hound", with amazing courage.He can swallow the sun, the moon, and even all the planets, and can transform into mountains, rivers, earth, and the universe.He can also become a person who absorbs the sun, the moon, and the essence and accumulates cosmic energy.Through the creation of the image of Heavenly Hound, it also reflects the poet"s desire to deny the old social reality and long for individual liberation.When Guo translated Faust, his personal feelings about Chinese history and reality, as well as his outstanding Chinese skills, enabled the translator to accurately understand the tragedy and philosophy of the original work, and the translation was smooth.

Intertextuality of Poetic Form 5.3.1. Using Foreign Words
Guo proposed that in order to enrich the Chinese language and improve its quality, it is necessary to appropriately absorb foreign grammar or imitate new words, but this cannot be done out of curiosity and difference (Guo, 1983d).Therefore, Guo used foreign words in his creations, whether in titles or in the main body of poems.

Using Foreign Words in Titles
During this period of Guo"s creation, there were a total of six poems with English words in their titles, one of which directly used English words: :Venus:; the remaining five have English words in the subtitles, mainly the names of people and places, etc.: "雪朝--读Carlyle: <The hero as poet>的时候(Snow Dynasty -When Reading Carlyle: <The hero as poet>)"; and three other poems: "怀古--Baikal畔之苏子卿(Nostalgia -Su Ziqing on the Bank of Baikal Lake)", and "蜜桑索罗普之夜歌--此诗呈 Salome之作者与寿昌(A Misanthrope"s Nocturne ---Dedicated to the Writer of Salome and to Shouchang)".poems such as "Crescent Moon and White Clouds" have not yet completely deviated from the old style, but for those who have studied Tagore carefully, they can know that these poems were influenced by Tagore.In addition, Guo"s poetry form was also influenced by Whitman, and because he personally liked Shelley, he was also influenced by Shelley.During this period, Guo translated American Whitman"s "Out of the Rolling Ocean the Crowd" and British Shelley"s "To a Skylark".These translations also influenced Guo"s creation.It can also be seen that if it were not for Guo"s extensive exposure to foreign poets and foreign poetry, it would be difficult for him to break away from the shackles of traditional Chinese poetry.Guo also realized that it was precisely because of contact with useful foreign things that the poets of new poetry in this period began to find the right path.While the new poetry was influenced by foreign countries, the poets did not abandon the tradition of Chinese poetry.
To sum up, the specific interactive relationship between Guo"s poetry translation and his poetry creation can be seen: A. Guo"s poetry translation is influenced by his own creation: Guo is a writer who is both a poet and translator, and his poetry translation is often influenced by his own creative style and themes.For example, many of the foreign poems he translated have similar themes to his own poems, such as revolution, nation, love, etc.
B. Guo"s poetry translation promotes his own creative development: When translating poetry, Guo also conducted in-depth research on the poetic forms and ideas of the translated works, which also has a positive impact on his own poetry creation.For example, he translated some foreign modernist poems, which inspired his own exploration of form and language in poetry creation.
C. Guo"s poetry translation and creation draw from each other: There is also a relationship of mutual reference and influence between Guo"s poetry translation and creation.His translation works often use his own poetry creation techniques, such as rhyme and rhythm, etc., and his poetry creations often quote the forms and ideas of foreign poems he has translated.

Conclusion
By analyzing Guo"s poetry creation and poetry translation works from 1919 to August 1921, this paper explores the interactive relationship between his poetry creation and poetry translation from the perspective of intertextuality, and discovers the intertextuality in literary thought: Pantheism, the spirit of the times and romanticism; intertextuality in creative themes: themes and images; intertextuality in poetic form: attempts to use foreign words, quoting foreign poems, and new poems.From these aspects, it can also be seen that Guo"s poetry creation and poetry translation, especially during this period, has a certain interactive relationship.In particular, the translation of his poetry has a great influence on his poetry creation, which also proves that the creation and translation of people with dual identities as writers and translators have a certain degree of intertextuality.In future research, the scope of research works can be expanded beyond Guo"s poetry, and a more in-depth analysis of the interactive relationship between creation and translation can be conducted.

Table - 1
. List of Guo"s Poetry Creation from 1919 to August 1921

Table - 2
. List of Poems Translated by Guo from 1919 to August 1921 Guo translated a total of 14 poems, involving different countries and different languages, such as German, English, Russian and other languages, as can be seen from Table 2, of which the most German works are involved, a total of nine, including six by Goethe and three by Theodor Storm; two by Shelley and Gray in Britain; one by Whitman in the United States; one by Tagore in India; one by Turgenev one in Russia.