What's the basis of line-breaking sentences in new poems?

There is no sentence reading in ancient Chinese. "I don't know what to read, but I am puzzled" (Han Yu's Shi Shuo) means that when reading ancient Chinese, I must first learn to punctuate sentences. In ancient Chinese schools, sentence-breaking was taught as part of the curriculum. In other words, sentence breaking is not a specialized knowledge, but it is also an integral part of learning. Today, when we travel to famous mountains and rivers, we often encounter couplets and poems carved on wood and stone, and we need proper sentence breaks to understand their meaning. Therefore, it is very important to break sentences, otherwise it will be "puzzled" From the day when modern new poetry came into being, it was faced with the problem of line-breaking. Some people have solved it, making the work icing on the cake and becoming a good product; It is a pity that some people can't solve it well or don't know how to solve it at all, but they make the original good work continue to be marten. Therefore, there is a satirical saying that modern new poetry is nothing more than branch words or enter key. The actual problem lies in the branch sentence break. Then, in the creation of modern new poetry, is there a clear basis for the branch of the poem? Yes, what is it? I haven't seen any articles about the discussion of sentence breaks in new poetry. However, in the process of reading new poems, it is obvious that the texture of many poets' works was originally very good. But when reading, it always gives people a feeling that they are not so comfortable, which is a pity. For poets who have been writing new poems for many years, sentence skipping is not a problem. They will naturally branch out many poems of a poem and handle them properly in the process of creation according to their emotions, internal logic, Chinese knowledge, reference and innovation. Of course, this requires modern poetry learning and writing skills. For most people, especially those who are new to the creation of new poems, sentence breaking is often a stumbling block to their creative talents. It was a very good poem, but it was regrettable because the branch was not proper. Some people even deliberately break a complete poem into words or phrases because they don't understand the importance of sentence-breaking, which makes people read at night, one foot deep and one foot shallow, or simply like walking on a muddy country road, giving people the feeling that it is difficult to get to the sky. Therefore, it is necessary to emphasize the basic basis of sentence breaking, so as to facilitate the poet's creation and readers' reading, and thus improve the quality of modern new poetry creation. First, the charm in poetry is the basis for line-by-line sentence-breaking. Today, the content and techniques of poetry have made great progress. It is no exaggeration to say that this is beyond the imagination and reach of predecessors. The excavation of Chinese characters by contemporary poets endows the Chinese language with unique and rich expressive force, which other languages cannot do. This unique expressive force was first practiced and embodied in new poetry. For mature and outstanding poets, poetry is the experimental field of Chinese language. Driven by internal emotional thinking, language and writing have become the pawns of the poets. For such excellent poets, there is no problem of line-breaking and sentence-breaking. With the help of semantics and language sense, according to the Zhang Chi priority of their emotional thinking and poetic logic, they naturally formed a complete poetic style if they wrote with the help of God. Of course, such creation is related to their literary accomplishment, poetic accomplishment and ability to control language. An excellent poem is complete, and its charm is various. Poetry, music, painting, film and television, sculpture, architecture, the poet's personality and other artistic elements will be implied in poetry. The beauty of humanity, phonology, logic of thinking, form and so on expressed in poetry will be enjoyed and appreciated in reading, which is the unique artistic charm of poetry. These artistic elements and characteristics and the aesthetic presentation of poetry are all constructed under the guidance of poetic charm. Therefore, the charm of poetry is not only the essence of poetry but also the external expression of poetry, and charm is the unique comprehensive beauty of poetry different from other literary styles. Second, the reading ability should be taken into account when breaking sentences. For those who have basic knowledge of new poetry, poetry is a literary style that needs to be understood and imagined. It can't tell you the cause and effect of character events as clearly as prose and novels do. It is a highly refined and processed representation of these images, and what is omitted and mapped is exactly what readers need to understand and imagine to supplement. Therefore, the leap, symbolism, guidance, turning point and so on of the poem constitute a rolling picture of the poem. Poetry creators should consciously arrange words and sentence patterns in these aspects, so that the expression of emotional thinking presents a sense of hierarchy, richness and three-dimensional significance. Therefore, it can better guide readers to enter the artistic space created by poets for extensive and in-depth aesthetic sightseeing and perception, so as to enjoy and cultivate beauty. I once discussed this issue with the poet Xiang Lianzi. Many poets' poems are shining, but they just can't enter the emotional world of readers. I think it has something to do with the way poetry is expressed, and it has something to do with the line-by-line sentence breaking of poetry. The line-by-line sentences in poetry seem to be formal, but they are actually poetic.