This paper explores the complex connections between Romantic literature, political revolution, and aesthetic decadence. Taking the second-generation Romantic poets Byron and Shelley and their "Marlowe group" as examples, it analyzes their pioneering nature as revolutionary poets and the decadent tendencies in their poetry. At the same time, it pointed out the insufficient analysis of this phenomenon in the study of romantic literature, and emphasized the importance of the views of the early Chinese poetry school "Creation Society" and Western modernity research expert Karinescu in understanding this relationship.

1、 Creation Society and Kalinescu

In depth exploration of the romantic characteristics and aesthetic shift of the "Creation Society" in modern Chinese literature. The Creation Society has undergone two important transformations: from "literary revolution" to "revolutionary literature", and then to symbolism and decadence. Jiang Guangci's viewpoint holds that proletarian political revolution is the realization of romantic personal ideals, and revolution and romantic passion are not contradictory. The later members of the Creation Society, such as Feng Naichao, Wang Duqing, and Mu Mutian, although theoretically supporting revolutionary literature, showed a trend of transition from romanticism to symbolism in their creations. Kalinescu proposed in "The Five Faces of Modernity" that Western avant-garde art originated from romanticism, and romanticism, avant-garde, and symbolism constitute the development path of aesthetic modernity. This modernity is in opposition to bourgeois modernity, and decadent artists protest against bourgeois modernity through alienation consciousness. The transformation of the Creation Society corresponds to Karinescu's discourse, reflecting the avant-garde and decadent nature of Romanticism.

2、 The pessimism of the Marlowe group

In depth exploration was conducted on members of the Marlowe group, including Shelley and Byron, who, although displaying a radical avant-garde attitude in their public image, were deeply influenced by skepticism and pessimism. Jeremy McGann pointed out that Shelley had a belief in the progress of social history, but was sensitive to the contingency in reality, and this contradictory mentality was reflected in his poetry. The second generation of British Romantic poets generally had characteristics of nihilism, cynicism, and anarchism. Byron's marital breakdown exacerbated his despair, which stemmed from his dissatisfaction with the political apathy of the era. Despite actively participating in revolutionary activities, he lacked confidence in the success of the revolution. Byron's poem 'There is no freedom to strive for in this country' reflects his pessimistic attitude towards political revolution, but his universal revolutionary ideals have not weakened as a result, because these ideals are poeticized or aestheticized, and are the result of the transformation of political pioneers into aesthetic pioneers.

3、 The Decadence of the Marlowe Group

In depth exploration of the decadentism of the Marlowe group, it is pointed out that Romantic poets such as Shelley and Byron resist the oppression of individual life by history through bodily sensations, reflecting an aesthetic revolution of carnal decadentism. Their interest in ancient Greek culture, especially their preference for pornography, was a rebellion against Christian asceticism and a affirmation of the principles of life. The members of the Marlowe group challenged the idea and behavior of dividing mind and body, human and environment, human and God, and institutionalized Christianity through sexual worship. Their works reflect a sharp counterattack against the conservative turn of the first generation of Romanticism, such as Wordsworth, and showcase the political stance of the younger generation of Romanticism. In the end, the second generation of British Romantic poets shifted from the pursuit of positive political freedom to modern negative freedom with the aim of satisfying personal happiness, reflecting the shift from political pioneers to aesthetic pioneers and the trend of aesthetic pioneers falling into decadence. At the same time, the chapter also mentions the transformation of Eastern Romantic poets such as Guo Moruo, Cheng Fangwu, and Jiang Guangci from literary revolution to revolutionary literature, as well as the symbolic decadent path of the "Three Poets of the Later Creation Society" Feng Naichao, Wang Duqing, and Mu Mutian, emphasizing the contradictory entanglement of romance, revolution, and decadence in the Chinese and Western Romantic movements.