The significance of ancient poetry
The original meaning of "ancient poetry" is a poem written by ancient people. Before and after Wei, Jin, Southern and Northern Dynasties, there appeared a number of five-character poems written by scholars before Wei and Jin, which had no title and no author. Most of them are lyric poems with unique expressive techniques and artistic styles, which are collectively called "ancient poems". Shen Deqian in Qing Dynasty said, "Nineteen ancient poems are not the words of one person. I abandoned my wife at a high rate, my friends were rich, I wandered abroad, and I felt a sense of death and new things. Or fable, or express, or repeat. There is no whimsy at the beginning, and every sentence is thrilling. The ancient poems of Xijing are all under it. " During the Jin and Song Dynasties, these "archaic poems" were regarded as models of five-character poems. Lu Ji once imitated 12 sentence by sentence. Tao Yuanming in the Eastern Jin Dynasty and Bao Zhao in the Song Dynasty. There are "quasi-classical poems" that study the skills and styles of "classical poems". In the Liang Dynasty, Liu Xie's Wen Xin Diao Long and Zhong Rong's Shi Pin theoretically summarized and evaluated the artistic characteristics and value of "ancient poetry", and discussed its author, era and origin, which were generally recognized as works of the Han Dynasty. At the same time, Xiao Tong's Selected Works and Chen's Xu Ling Yutai's New Poetry define the scope of "ancient poetry" from the classification of poetry: all works without clear titles are called "miscellaneous poetry" by the author and "ancient poetry" by anonymous people. Therefore, after Liang and Chen, "ancient poetry" has formed a special name with a specific meaning. It is the same as the two Han Yuefu songs, referring to the five-character poem written by Wu Ming in the Han Dynasty, which has developed into a poetic style with the artistic characteristics of "ancient poetry". Nineteen Ancient Poems occupies a representative position in the history of literature, and this title has also become a topic name.
● Ancient poetry style, also known as ancient style.
The ancient poetic style before the Tang Dynasty is a poetic style that does not pay attention to meter and has no limitation on the number of words and sentences. After the Tang Dynasty, due to the appearance of modern poetry, poets deliberately imitated the writing style of ancient poetry in the Han, Wei and Six Dynasties in order to distinguish ancient poetry from new metrical poetry, and restricted it in some aspects, thus forming a fixed pattern of ancient poetry in the Tang Dynasty. As a result, the completely free poetic style before the Tang Dynasty was changed into a semi-free poem between metrical poetry and free poetry.
The number of words and lines in classical poetry;
Classical poetry has no fixed verse and style. All ancient poems are classified according to the number of words in the poem. Four-character ancient poems are referred to as four-character ancient poems for short; Five-character ancient poems are referred to as five-character ancient poems for short; Seven-character ancient poems are referred to as seven-character ancient poems for short. Four-character poems were adopted by people as early as the Book of Songs. But it gradually declined in the Tang Dynasty, and few people wrote it. Therefore, ancient poetry is still expressed in five words and seven words.
Five-character ancient poetry is the orthodoxy of ancient poetry, and many people write it.
Seven-character ancient poetry is not the mainstream of classical poetry, because it originated late. Therefore, the seven-character style is greatly influenced by the seven-character modern poetry.
Five-character ancient poems and seven-character ancient poems are both ancient poems with neat words. There is also a kind of ancient poetry with mixed words, and the length between the lines is different and uneven.
● Ancient poetry includes the following contents:
In time, it refers to 1840 China's poems before the Opium War. From the perspective of meter, ancient poetry can be divided into ancient poetry and modern poetry. Ci was invented by Song people, also called long and short sentences. Ancient poetry is also called ancient poetry or ancient style; Modern poetry is also called modern poetry.
Poetry in ancient style
Classical poetry is written in the style of ancient poetry. In the eyes of the Tang people, everything from the Book of Songs to Yu Xin in the Southern and Northern Dynasties is ancient. Therefore, there is no certain standard for the so-called ancient poetry style. However, the ancient poems written by poets are consistent in one thing, that is, they are not bound by the rhythm of modern poetry. A kind of metrical poem, which began to form in the early Tang Dynasty, has strict rules on the number of words, rhyme and antithesis, which is what we call modern poetry. Modern poetry is relative to ancient poetry. Poets in the Tang Dynasty and beyond still wrote classical poems. We can say. Anything that is not bound by the near-body meter is an ancient poem. Classical poetry is divided into four-character poems, five-character poems and seven-character poems. Modern poetry is divided into quatrains and metrical poems.
"Modern Style" Poetry
Modern poetry is divided into metrical poems and quatrains. The difference between metrical poems and quatrains mainly lies in the number of sentences. There are four quatrains and eight rhyming poems. There are eight metrical poems, one or two of which are the first couplet, three or four are the parallel couplet, five or six are the neck couplet, and seven or eight are the tail couplet. Quatrains are also called "sentence cutting". Sonnets may or may not be antagonistic, but they must be antagonistic to each other. Both quatrains and quatrains require even numbers. A metrical poem with more than eight sentences is called arrangement.
Here are some classic poems:
A cluster of plum blossoms
-Li Qingzhao
Red lotus root is fragrant and jade is lingering in autumn. I can untie Luo Shang and go to the Dutch boat alone.
Who sent the brocade book, the word geese returned, and the moon was full of the West Building.
Flowers from Shui Piao to water, a kind of acacia, two places of leisure.
There is no way to eliminate this situation, only frown and mind.
Hard road
-Li Bai
There are 1000 bottles of sake, 10,000 coins of jade plates.
I threw the food bar and cup aside. I couldn't eat or drink. I pulled out my dagger. I peeped in four directions in vain.
I want to cross the Yellow River, but ice will block the ferry and Taihang Mountain will be covered with snow.
I will sit on a fishing rod and lean lazily by the stream, but I suddenly dream of sailing a boat towards the sun.
It's hard to walk, it's hard to walk, a lot of roads, and today's safety.
One day, I will ride the wind and waves, raise the Yun Fan and cross the sea.
Invite for a drink
-Li Bai
Have you seen how the water of the Yellow River flows from the sky to the sea and never returns?
Have you seen the lovely hair in the bright mirror in the high room, although it is still silky black in the morning, it turns into snow at night?
Oh, let a man with spirit take risks where he wants to go, and never point his golden cup at the moon empty! .
Since God has given talents, let them be used! As for the money, although it is scattered, it will get together again.
Cook a sheep, kill a cow, sharpen your appetite, and let me, 300 bowls, take a big drink! .
Master Cen, Dan Qiusheng can drink and drink endlessly.
Let me sing you a song! Please listen to me.
What are bells and drums, delicacies and treasures? I hope I will never wake up.
The sober and sage of the old days were forgotten, and only the drinker kept his name.
Chen bought a barrel of wine with 10 thousand gold coins at a banquet in the temple, and everyone laughed and said one-liners
Why do you say, my master, your money is gone? , to buy wine, we drink together! .
Five flower horses, golden jubilee, give them to boys in exchange for good wine, and I will share with you the sorrow of the ages.
Climb the peak
Du Fu
The wind is fast and high, the ape cries sadly, and the birds are circling in the white sand.
The endless trees are rustling leaves, and the Yangtze River is rolling unpredictably.
Li in the sad autumn scenery, a wanderer all the year round, lives alone on the high platform in today's illness.
After all the hardships and hatred, the white hair is full, and the wine glasses are damaged.
Lisi
-Yuan Zhen
Once I tasted the vast sea, I felt that the water in other places was pale; Once you have experienced the clouds in Wushan, you feel that the clouds elsewhere are eclipsed.
Hurried through the flowers, lazy to look back; This reason is partly because of the ascetic monk, and partly because of who you used to be.
Seven step poem
-Cao Zhi
Boil beans and burn beans, and the beans cry in the pot.
We are born from the same root. What's the hurry?
Batavia on Yanmenguan Line
Li he
Enemy soldiers rolled in like dark clouds in an attempt to tear down the city wall; Our army was ready, and the sun shone on the armor, glittering with gold.
In autumn, the loud bugle sounded; The soldier's blood became dark in the night.
The red flag rolled half, and the reinforcements rushed to Xiao; The night frost is heavy and the drums are gloomy.
I want to report to you on the golden platform, and I want to take Yulong to your death.
Miss each other
When those red berries come in spring, they flush on your southern branches.
People who want to miss them collect more, and Mix red beans have attracted people's attention.
Persuade sb. to study
Yan Zhenqing
Night light, five chickens,
When a formal man is studying.
Black hair didn't know to study hard,
Bai Shoufang regrets studying late.
Common sense of ancient poetry:
1. rhyme: rhyming words at the end of a verse sentence, such as the moonlight in front of Li Bai's "Thinking of a Quiet Night", are there already frost? Looking up, I found that it was moonlight and sank again, and I suddenly remembered home. The land of light and frost is rhyme.
2. Rhyme: Poetry rhymes to make the tone harmonious and beautiful. For example, Li Bai's "Silent Night Thinking" uses rhyme.
3. The structure of metrical poems: * * eight sentences, with one or two sentences as the head couplet, three or four sentences as the parallel couplet, five or six sentences as the neck couplet, and seven or eight sentences as the tail couplet.
4. The rhythm and rhythm of ancient poetry:
Judging from the sentence pattern, the four words of ancient poetry are generally two and two; Five words are two, two and one; These seven characters are two, two, two, one,
In a sense, sometimes there are special circumstances due to ideographic needs, such as: Shila | Wuyue | Gai | Chicheng, and this is it.
Two, two, one, two
Two poetic statements in middle school textbooks
On the Style of Ancient Poetry —— Also on the Two Poetic Styles in Middle School Textbooks
There are many styles of ancient poems in China, and there are different views on the classification and appellation of ancient poems. Especially for Yuefu, ancient style and ballad poetry, it is even more confusing. Because, from the formal point of view, Yuefu style and ancient style are both five-character styles, and seven-character ancient poems and ancient songs are all seven-character styles, so it is difficult to distinguish them. But since ancient times, people have unanimously recognized their differences in content, technique and style, and established their names.
In the second topic "Discussion and Practice" of Five Poems of Grade Eight (Volume II) published by People's Education Press, it is said that "The hut was blown down by autumn wind" and "A song to bid farewell to the field in the snow-secretary Wu goes home" are both poems with free form, fluent language and unrestrained style. Please talk about the similarities and differences between these two poems from the aspects of sentence pattern, narration and lyricism. "
The ninth grade (1) knowledge composition "How to read" said: "Du Fu's" Shi Qu Guan "has a wide meter, which is called ancient style ..."
The name here doesn't conform to the habit. People used to call Du Fu's Caotang "an ancient poem with seven words", while Cen Can's Bai Xuege was called "a poem with seven words". The editor also clearly saw the difference between the two poems, so this problem arose. Although Du Fu's "Three Officials and Three Farewells" are all five-character poems, people are used to calling Shi Hao officials "new Yuefu" instead of "ancient style". In order to understand this problem, it is necessary to make a brief review of the style of China's ancient poems.
China's earliest poetic style was The Book of Songs with four characters, and then the Chu Ci style represented by Qu Yuan's Li Sao (also known as Sao Style Poetry) appeared, which lengthened sentence patterns with the conjunction "zhi" and the modal particle "xi", such as "Xi, the descendant of Emperor Levin" (Li Sao) and "Wu Gexi is wearing a rhinoceros armour". Therefore, The Book of Songs and Songs of the South became the source of China's poems.
In the Han Dynasty, Yuefu, an organization specialized in collecting all kinds of poems and songs, appeared, and the most influential one it collected was folk poems, which we can still see today. Its biggest feature is strong reality, popular and lively, and its form is mainly five words. For example, the long songs in the eighth grade (1) textbook and "Drinking Horses in the Cave of the Great Wall" and "Joining the Army in the Tenth Five-Year Plan" in the high school textbook are authentic Han Yuefu. The content and style of Yuefu folk songs in Han dynasty influenced the poetry creation of literati at that time and later generations. By the end of the Eastern Han Dynasty, there were 19 ancient poems representing the maturity of literati's five-character poems, which absorbed many characteristics of Yuefu folk songs and promoted the development of ancient poetry. Especially in Wei, Jin, Southern and Northern Dynasties and Tang Dynasty, the development and evolution of Han Yuefu formed two main forms.
One is "Ancient Yuefu" (also called "Old Yuefu"), which was created by literati with simulation. It borrows the title of Han Yuefu and writes new contents, just like old bottles and new wine, such as Cao Cao's Out of Xiamen (Part VII), Yang Jiong's Joining the Army and Li He's Wild Goose Gate. The characteristics of these poems are that although they follow the theme of Han Yuefu, the content is new and related to the original theme, such as "joining the army" related to military affairs, and "wild goose gate satrap" related to frontier fortress. The content of literati's quasi-Yuefu changed from narrative to lyrical in Han Dynasty. In terms of form and technique, it draws lessons from its vulgarity and elegance, adds literati color and improves artistic taste. Ancient Yuefu has two forms: five words and seven words. Seven-word Yuefu, an ancient poem, was first seen in Cao Pi's Ge Yan Xing in the Three Kingdoms Period, and it was not until Bao Zhao in the Qi and Liang Dynasties in the Southern Dynasties that he wrote Quasi Difficult Travel (18) and so on. Yuefu poems can be sung, and the seven-character Yuefu style is mainly chanting. In terms of content and length, it is generally long, and it is like flowing water when chanting. It can freely change the rhythm, making its content changeable, its structure turning, its momentum magnificent and its feelings colorful. This kind of poetic style is suitable for carrying large ideological content and expressing warm feelings. It not only has the characteristics of the popularity and liveliness of ancient Yuefu, but also focuses on expressing the voices of literati. Its form is mainly seven-character sentence pattern, and the miscellaneous words are colorful and cadenced, so people also call it "Gexing Style".
The other is mainly to learn from the narrative-oriented, realistic content characteristics and simple and popular expression characteristics of Han Yuefu to reflect the social reality at that time and attract people's attention to society. It no longer borrows the original name of Han Yuefu, but is named according to the different contents of the event. The so-called "life-threatening, hard to see." In the Tang Dynasty, Du Fu was concerned about state affairs and reflected the social reality before and after the Anshi Rebellion with his pen. He wrote many such poems, such as Chedian (high school), Sanguan (Tongguan official, Xin 'an official and Shihao official) and Sanbie, which mainly inherited the tradition of Han Yuefu in essence. Later, Yuan Jie, Gu Kuang and other poets also wrote such poems. In the middle Tang Dynasty, realistic poets such as Bai Juyi and Yuan Zhen, in order to save the decline of the country at that time, used their own poems to reflect the shortcomings of social reality, so as to attract the attention of the rulers, vigorously advocated these poetic forms of Du Fu and Yuan Jie, and launched the "New Yuefu Movement" with the title of "New Yuefu". They themselves have written many "new Yuefu", with five or seven sentences in form. For example, Bai Juyi's "Looking at Wheat Cutting" (Part 9), selling charcoal Weng, Xinfeng folding arm Weng and Du Lingcuo are all narrative and popular "new Yuefu style". Answer in the Bamboo Grove said: "Ancient poetry and Yuefu have been divided since the Han and Wei Dynasties. Yuefu syllables don't pass on, and the Tang people borrow old topics and new meanings every time. At least Ling doesn't attack old topics, such as "Three Officials" and "Three Farewells", which are really Yuefu. " (Continuation of Poems in Qing Dynasty, 2225 pages, Shanghai Ancient Books Publishing House, 1983) Briefly points out the characteristics of new Yuefu poems.
There is another situation in literati's study of Han Yuefu, which mainly introduces the characteristics of Yuefu poetry into lyric ancient poems, reflecting the characteristics different from the previous five-character ancient poems. The representative work is Li Bai's "Ancient Style" (58 poems). From the formal point of view, "ancient style" is no different from five-character ancient poetry, but the lyrical content and way are different. When answering the difference between Yuefu and classical poetry in Zhao Zhixin's Yinpu in Qing Dynasty, he said: "There is a great difference between sound and emotion, and it takes more than half a minute to understand it here." (Qing Shihua 132, Shanghai Ancient Books Publishing House 1963) "Sound and emotion" refers to the difference in content, emotion and charm. "Ou Bei Shi Hua" further pointed out: "Beggars' Yuefu is more committed to women's thoughts, and violets are deeper than Yuefu, so they can also inspire couples to bid farewell to the injured. However, they are all subtle and ancient ... they are short and meaningful, leaving a legacy of national style directly. Shaoling has no such taste. " It can be seen that Du Fu's "new Yuefu" is different from Li Bai's "ancient style", although both are influenced by "Han Yuefu". In the collection of Tang poems, there are few directly labeled "ancient style". "Ancient Style", "Five Words Ancient Style" and "New Yuefu" are free in form and don't talk about meter, so there is no problem of "wide meter".
There are also two situations when the seven-character song style developed to the Tang Dynasty. Because "metrical poetry" appeared in the Tang Dynasty (also called "modern poetry" to distinguish it from "ancient poetry" that didn't talk about metrical poetry before), one kind deliberately introduced some syntax and techniques of metrical poetry into ancient poetry, and the other kind deliberately avoided it. Traditionally, people refer to the former as "Seven-character Song Style" and the latter as "Seven-character Ancient Poems".
On the basis of inheriting the magnificent poetic style of Qi and Liang Dynasties in the Southern Dynasties, some poets in the early Tang Dynasty tried to introduce the sentence patterns and antithesis of seven-character rhythmic poems into their singing style, resulting in such famous works as Lu's Ancient Meaning Chang 'an, Luo's Poems on the Palace and Zhang's Moonlit Night on the Spring River, which are magnificent in length and momentum, and their scattered sentences are mixed with metrical and antithesis, reflecting the vast society. In the prosperous Tang Dynasty, Gao Shi and others wrote a large number of frontier poems on this theme, such as Gao Shi's Travel, Cen's Bai Xuege Farewell to Taiwei Wu's Hometown (eight times) and Ben Ma He Song Farewell to Feng, the general of the Western Expedition (nine times). These poems give full play to the characteristics of "early Tang style", with rich and magnificent content, unrestrained feelings, magnificent images, diverse techniques and unique language. In the middle Tang Dynasty, Bai Juyi and others incorporated narrative elements into this style and wrote such famous works as Song of Eternal Sorrow and Pipa Story. Seven-character quatrains have made new progress. Until the early Qing Dynasty, Wu (No.Meicun) wrote Yuan Yuan Qu, He Yong Palace Ci, Xiao Shi Qing Men Qu, and Listening to the Female Taoist Bian Yujing Playing the Piano in this poetic style. He praised history with poems, paid more attention to skills in form, used colorful words, and formed a colorful and changeable artistic style, which was beautiful and touching, and even sung in seven words. By the end of the Qing Dynasty and the beginning of the Republic of China, Wang Guowei and others had written poems such as The Summer Palace Ci in this style.
On the other hand, poets such as Du Fu and Han Yu consciously avoid the syntactic sentences of the seven-character Yuefu physical rhythm poems to reflect the quaint and simple style characteristics, and often adopt loose sentences and three-level endings (such as "San Mao", "Changlinding", "Sink Pool" and "Sigh"). In terms of content and style, this kind of poetry is often based on realistic themes and deep and depressed feelings, which is different from the rich romantic color of the previous kind of songs. However, it pays attention to the grandeur of content, the boldness and agitation of momentum and emotion, and the changeable structural transition, which conforms to the overall characteristics of the seven-character style. For example, Du Fu's Autumn Wind Breaking the Cottage (eight times), Li Yi's Going to the Temple of Heaven to See the Sea at Night, Han Yu's Mountain Rock, Lu Tong's Poem of Eclipse, Mid-Autumn Festival Giving Zhang and Hengshan Temple Stopping, I'm going to write this poem at the gatehouse, and I'm going to urge you to send new tea, etc., all have such characteristics, which are customarily called.
There are many discussions about the difference between seven-character quatrains and seven-character ancient poems. In Liu Xizai's poems, the characteristics of these two types are divided into: "There are seven ancient poems, which can be said to be nearly two ancient poems. Close to the body, parallel, harmonious, beautiful and smooth; The ancient style is simple, awkward, thin and energetic. One is handsome and the other is muscular. This is the difference between Qi Liang and Han Wei, which is why the early Tang Dynasty and the prosperous Tang Dynasty are different. " (Continued on page 2436 of Qing Shi Hua) The "ancient" here refers to the seven-character ancient style similar to the "autumn wind breaking the thatched cottage song", which inherits the simple and substantial characteristics of ancient poems in Han and Wei Dynasties; "Jin" refers to the seven-character swan song style developed from the "early Tang style" and inherits the ingenious and beautiful characteristics of the Qi and Liang Dynasties. It can be said that this is the fruit of two different flavors on the big tree of seven-character Yuefu poems in the Han, Wei and Six Dynasties.
The above is probably the basic overview of China's ancient poetry, which, together with the modern poetry with strict meter in the Tang Dynasty, has become the basic form of China's ancient poetry.
There are many classic poems in Runwu. This is the case with ancient poetry.
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Modern poetry
● 1953 used the name "Modern Poetry" for the first time-it was established when Ji Xianlin founded the "Modern Poetry Society". The significance of modern poetry;
1. The form is free.
2. The connotation is open.
3. Image management is more important than rhetoric.
Comparison between "classical poetry" and "modern poetry";
Poets are all formed by feeling things, which is a reflection of the soul. "Classical Poetry" expresses tenderness, tenderness, sadness and no resentment with the poetic view of "thinking innocently", emphasizing "between solvable and unsolvable"; "Modern poetry" emphasizes the spirit of freedom and openness, and communicates "between the sensible and the intangible" with straightforward situational statements.
Characteristics of modern poetry
* with a high degree of generality, vivid image, strong lyricism, musical harmony, and branch arrangement in form.
● Ten schools of modern poetry.
* Realism
* Aestheticism
* Symbolism
* Neo-romanticism
* Imagism
* Futurism
* Expressionism
* Surrealism
:: Postmodernism
* concretism
● Classification of modern poetry
There are also many ways to classify poems, which can be divided into different categories according to different principles and standards. The basics are as follows:
1. Narrative poems and lyric poems. This is divided according to the expression of the content of the work.
(1) Narrative Poetry: Poetry contains relatively complete story lines and characters, which are usually expressed by the poet's passionate singing. Epic, story poem and poetic novel all belong to this category. Ancient Greek Homer's epics such as Heriat and Odyssey; China poet Li Ji's Wang Gui and Li Xiangxiang and other story poems; Don Juan by British poet Byron and yevgeni onegin by Russian poet Pushkin.
(2) Lyrics: It mainly reflects the social life by directly expressing the poet's thoughts and feelings, and does not require complete stories and characters. Such as love songs, carols, elegies, elegies, pastoral songs, satirical poems, etc. There are many such works, so I won't list them one by one.
Of course, narration and lyricism are not absolutely separated. Narrative poetry is also lyrical, but its lyricism requires close combination with narrative. Lyric poems often describe some fragments of life, but they can't be spread out, and they must obey the needs of lyricism.
2. Metric poems, free poems and prose poems. This is classified according to the phonological meter and structural form of the language of the work.
(1) Metric poetry: It is a poem written according to certain formats and rules. It has strict rules on the number of lines, the number of words (or syllables), the tone and rhyme, the antithesis of words and the arrangement of sentence patterns. Such as the metrical poems, quatrains and songs in China's ancient poems and the European sonnets.
(2) Free verse: it is a newly developed poetic style in modern Europe and America. It is not limited by metrical rules, has no fixed format, pays attention to natural and internal rhythm, and uses rhymes roughly similar or without rhymes. The number of words, lines, sentence patterns and tones are relatively free, and the language is relatively popular. Whitman, an American poet (1819-1892), is the founder of European and American free verse, and Leaves of Grass is his main collection of poems. This poetic style has also become popular in China since the May 4th Movement.
(3) Prose poetry: it is a literary genre with both prose and poetry characteristics. There are poetic artistic conception and passion in the works, which are often full of philosophy, paying attention to the rhythm of nature and the beauty of music. The length is short, like prose, and it does not rhyme, such as Lu Xun's Weeds.
● The development of modern poetry
China's modern poetry can also be divided into two relatively independent stages:
China's Modern Poetry: Poetry before the first half of the 20th century is called China's Modern Poetry.
China's Contemporary Poetry: Poetry after the second half of the 20th century is called China's Contemporary Poetry.
● The main schools of modern poetry
★ Xinyue School
An important school of poetry in the history of modern new poetry is generally divided into two periods by 1927. The early stage began in the spring of 1926, supplemented by Beijing Morning Post? Poetry magazine is the front, and its main members are Wen Yiduo, Xu Zhimo, Zhu Xiang, Rao Mengkan, Sun Dayu and Liu. They are dissatisfied with the style of "free poets" who ignored the art of poetry after the May 4th Movement, advocate new metrical poetry, advocate "rational emotional control", and oppose the promiscuity and prosaic tendency of poetry. From theory to practice, they made a serious exploration of the new poetic meter. Wen Yiduo put forward the famous thought of "three beauties" in "The Metre of Poetry", that is, "the beauty of music, the beauty of painting and the beauty of architecture". Therefore, the crescent school is also known as the "new metrical poetry school". The crescent school corrected the weakness of the early poetry creation that was too informal, and also made the new poetry enter the period of conscious creation. /kloc-in the spring of 0/927, Hu Shi, Xu Zhimo, Wen Yiduo, Liang Shiqiu and others founded Crescent Bookstore, and the monthly magazine Crescent was founded the following year. The main activities of the "Crescent School" moved to Shanghai, which was later the Crescent School. Its main positions are New Moon and Poetry, which were founded in 1930. The new members are Chen, Fang and Bian. In the later period, the Crescent School put forward the principles of "health" and "dignity", adhered to the position of "pure poetry" which was super-utilitarian, self-expression and aristocratic, and emphasized "purity of essence, thoroughness of technique and rigor of meter". However, the artistic expression and lyricism of poetry are close to modernist schools.
The beauty of music in the "three beauties" means that each section of the new moon poem is different, just like music. Architectural beauty means that the format of poetry is like architecture. The beauty of painting is that every paragraph of a crescent poem can be painted.
See: Crescent School and Crescent Poetry Society for details.
★ kuya School
One of the characteristics of kuya School is that it pays attention to reality.
1948 The most important event was the official appearance of the Nine Leaves School. Due to the differences in artistic views between Cao Xinzhi and the "Stars" club, he and Xin Di, Chen, Tang Qi, Tang Shu and others founded the monthly magazine "China New Poetry", and got in touch with Mu Dan, Du Fu and Yuan Kejia who returned to Beijing and Tianjin from Kunming and The National SouthWest Associated University, forming a new poetry school "China New Poetry School" (later
"Nine Leaves School" is another group of poets in the 1940s (also known as "China New Poetry School"), and its representative poets are Xin Di, Mu Dan, Du Fu, Chen, Hang Youhe, Tang Qi, Tang Xie and Yuan Kejia.
In the 1980s, they published Nine Leaves Collection, a collection of poems by nine of them, hence the name Nine Leaves School. Most of them are campus poets, who perceive people's voices from the war and attach importance to the poet's unique experience of social and historical phenomena; Deeply influenced by western modernist poetry, they strive to break through the traditional way of subjective lyricism, pursue the combination of realism, symbolism and philosophy, and explore the "drama" of poetry expression (mainly referring to the contradictory tension in the emotional development and language expression of poetry, rather than directly expressing their hearts), so that poetry can further express the complexity of modern people's thinking mode and inner life. In the history of literature, it is generally believed that the artistic exploration of "Nine Leaves Poetry School" is very valuable, and a group of poets with high artistic level have made great breakthroughs in the expression of new poetry and poetic concepts.
★ Wudu School
Obscure Poetry School: A school of poetry that appeared in the late 1970s and early 1980s. Its representatives are Beidao, Shuting, Gucheng, He Jiang, Haizi and Yang Lian. As a creative group, "misty poetry" has not formed a unified organizational form, nor has it issued a declaration. But it has formed a "rising poetry group" with its own independent artistic thoughts and creative achievements. At that time, there was a debate about misty poetry in the literary world. The spiritual connotation of "misty poetry" has three levels: one is to expose darkness and social criticism; Second, seeking light in the dark, reflecting the sense of exploration and strong heroism; Third, based on humanitarianism's special concern for "people". "Misty poetry" rewrites the traditional model of describing "reality" and illustrating policies in the past, and regards poetry as an important way to explore life, which has reached an unprecedented height in philosophical significance. In a sense, the rise of "misty poetry" is also the rise of the life tree of China literature.
The poetry movement of the new poetry tide, which is dominated by obscure poetry, gradually entered a climax after the ideological thaw in the late 1970s, and its symbol was the publication of the short poem "Answer from the North Island" in the March issue of Poetry Magazine (1979). With the publication of Answer, misty poetry began to enter the mass state from the underground state, and the poets of the new poetry tide not only quickly occupied the main pages of various literary newspapers and periodicals. The works of a number of outstanding poets, such as Beidao, Yang Lian, Gucheng, He Jiang, Shuting, Munk, He Jiang and Li Yan. , introduced one after another, has triggered a huge debate about "misty poetry" in the field of poetry and even the whole literary world for several years.
This kind of poetry uses a lot of symbolic artistic expressions in its creative techniques, which makes the literary meaning of poetry full of diversity and fuzziness, so it is also called misty poetry. After self-reflection and realization of self-value, misty poets finally found their position as "historical witnesses", and the way to realize self-value is to provide historical witnesses for future generations. Therefore, "providing historical witness" has become the ultimate theme of misty poetry.
1985 165438 The Selected Poems published in October collected the works of these poets, which is also one of the sources of the term misty poetry school, and because quite a few hazy poets have published their works in Today, the misty poetry school is often called Today School.
Since 1980s, the school of misty poetry has been replaced by the school of modern poetry. Since 1984, the poetic movement of China's new poetry has entered the stage of "post-obscurity".
Representative poet: forefinger North Island Dodo Genshu Ting Mangke Gu Xiangliang Wang Xiaoni Han Fang Tian Xiaoqing mute Fu Tianlin.