In 1919, why did the Chinese at that time not like ancient literature and pursue new literature .

This has something to do with the social background at the time.

In the early years of the Beiyang warlords' rule, the sky in China was full of haze.

1) Political: imperialist aggression intensified; The rule of the warlords is getting darker and darker, and the anti-imperialist and anti-feudal struggle must continue.

2) Economic: During World War I, Chinese capitalism developed further. The bourgeoisie's strong demand for democratic politics and the development of capitalism is the fundamental reason.

3) Ideological and cultural aspects: Western Enlightenment ideas have been further disseminated, and the idea of democracy and republic has been deeply rooted in the hearts of the people. The Beiyang warlords promoted the retro countercurrent of Zunkong (the concept of democracy and the retro countercurrent of Zunkong are incompatible).

More important was the reflection of the people at that time on the failure of the Xinhai Revolution. After the Xinhai Revolution, advanced intellectuals realized that the root cause of the failure of the revolution was the lack of democratic republican consciousness in the minds of the people, and it was necessary to attack the feudal ideology and feudal consciousness from the cultural and ideological aspects, and realize a true republican form of government by popularizing the republican ideology.

Therefore, the emergence of the New Culture Movement was not only the product of the comprehensive effect of economic, political, ideological, and cultural factors in a specific historical period at that time, but also the inevitable result of modern China's long-term material and ideological preparation.

Hope it helps.

Influenced by Western literature, and society came out of the old era.

The pursuit of freedom is primarily the influence of foreign cultural ideas.

Down with the Confucian family shop and the ancient literature based on the traditional Confucian literature, so that people can accept the new culture and get the emancipation of their minds.

Summary. The most representative literary styles of ancient Chinese literature, they have always been admired and loved by the Chinese people: poetry:

Ancient Chinese poetry is a treasure of literature, known for its concise and beautiful expressions. The forms of poetry in ancient times mainly include five-character, seven-character and rhythmic poems, and the representative writers are Li Bai, Du Fu, Su Shi, etc.

The most representative style of ancient Chinese literature, they have always been respected and loved by the people of Changwei: Poetry: Ancient Chinese poetry is a treasure of hail literature, famous for its concise and beautiful expression.

The forms of poetry in ancient times mainly include five-character, seven-character and rhythmic poems, and the representative writers are Li Bai, Du Fu, Su Shi, etc.

Words: Words are a unique literary form in ancient times, which is widely loved by loose molds for its graceful and lyrical characteristics. The creative themes of the slow rise of words mostly involve love, laughter, parting, homesickness, etc., and the representative writers include Li Qingzhao, Xin Qiji, Yang Jiong, etc.

**: Ancient China** is highly regarded for its rich and diverse storylines, vivid characters and profound social implications. Among them, the most representative ones are "A Dream of the Red Mansion", "Water Margin", "Journey to the West" and other stalls.

Opera: Ancient Chinese opera is a kind of performance art form that integrates **, dance and drama, and is deeply loved by the general public. Peking Opera, Ping Opera, Kunqu Opera, Henan Opera, etc. are all popular opera genres.

Summary. In 1910, Qian Zhongshu, a famous modern Chinese writer in the Chinese literary circle and the author of the long ** "Siege of the City", was born. In 1910, Cao Yu, an outstanding modern Chinese playwright and author of the famous drama "Thunderstorm", was born.

In 1910, Qian Zhongshu, a famous modern Chinese writer in China's He Ye literary circle, and the author of the long story "The Siege of the City", was born. In 1910, Cao Yu, an outstanding modern Chinese playwright and the author of the famous drama "Thunderstorm", was born.

Qinqin extended information for your reference: Cao Yu, 1910-1996, China's outstanding modern dramatist, along with Lu Xun, Guo Moruo, Mao Dun, Ba Jin, Lao She. He has successively served as the executive chairman of the China Federation of Literary and Art Circles, the vice chairman of the Chinese Dramatists Association, the director of the China Writers Association, the chairman of the Beijing Federation of Literary and Art Circles, the vice president of the ** Drama Academy, and the honorary president; President of Beijing People's Art Theater and other positions.

His representative works include "Thunderstorm", "Sunrise", "Wilderness", "Pekingese", etc., and are known as "Shakespeare with vertical squares in the east". Or old shirts.

Therefore, Chen Duxiu and Hu Shi's opposition to the old literature in the literary revolution refers to Confucius's Confucian doctrine, which is aimed at the feudal literature that restricts people's minds such as the Four Books and the Five Classics. Residue.

The New Culture Movement advocates new literature and opposes old literature, which is stylistically classical Chinese and new literature vernacular. In terms of content, the old literature is stale, and the new literature is novel;

The new literature of the New Culture Movement refers to the "vernacular language", which is a relatively written classical Chinese language as opposed to the old literature of the time.

Stylistically speaking, the old literature refers to classical Chinese, and the new literature refers to vernacular literature. In terms of content, the old literature refers to Confucian and Mencian literature, and the new literature is a liberal and democratic science.

It refers to the literature of New Democracy.

The innovation and retrospectivity of Chinese literature is a complex and multidimensional issue, which needs to be discussed in conjunction with specific literary works. The following takes "Dream of Red Mansions" and "Journey to the West" as examples to illustrate my understanding.

First of all, take "Dream of Red Mansions" as an example, this work is known as "the pinnacle of ancient China". It takes the fate of Jia Baoyu, Lin Daiyu and other characters as the main line, and depicts the decline and disturbance of a feudal family.

"Journey to the West" is another representative work. In the form of a mythological story, it tells the story of Sun Wukong and others who went to the west to learn scriptures. In the form of filial piety literature, this work integrates various art forms such as **, poetry, and opera, showing the diversity of ancient Chinese literature.

Journey to the West is not only innovative in language, such as the use of folklore and dialects, but also unique in character creation, such as the image of the Monkey King is deeply rooted in the hearts of the people, which has had a far-reaching impact on Chinese literature.

From these two examples, it can be seen that the innovation of Chinese literature is not to completely abandon tradition, but to innovate on the basis of tradition. Whether it is the inheritance and development of tradition in "Dream of Red Mansions", or the absorption and transformation of folklore and mythology in "Journey to the West", they all reflect the balance and coordination between innovation and retro in Chinese literature. Therefore, I believe that the innovation of Chinese literature is carried out on the basis of retro, and it is the inheritance and development of traditional culture.

It laid the foundation for vernacular to eventually become the modern national language of China.

The May Fourth New Culture Movement is considered to be an unprecedented ideological emancipation movement in Chinese history, and the Literary Revolution, as an integral part of this movement, radically repudiated the traditional closed and poor cultural system dominated by feudal ideology, and laid the foundation for the vernacular to eventually become the modern national language of China in the process of China's cultural modernization.