The 30 years of modern literature is the process of the formation, development and maturity of new poetry.
A. the first year of10:
1. Try a new poem
Hu Shi is "the first vernacular poet" and his Collection of Attempts (1920) is "a bridge between the old and the new art times". Some poems have the lyrical form of modern Chinese, but most of them still can't get rid of the formal tradition of classical poetry. Other poets in the same period were Yu Pingbo (Winter Night), Kang (Grass), Shen (Sanxian), Zhou Zuoren (River) and Liu Bannong (who taught me how not to think about her).
The techniques of new poetry are "line drawing" and metaphorical symbols. Such early vernacular poems can also be divided into two categories, one is the objective realism tendency of using line drawing technique, and the other is the modernism tendency of supporting things. The latter is not common in traditional poetry.
2. Poetry-style new poetry creation.
Guo Moruo's Goddess (192 1) is the cornerstone of modern new poetry. It makes the lyrical essence and individuality of poetry get full attention and play, and the strange and bold imagination makes the wings of poetry really soar. This collection of poems fully embodies the free spirit of the May 4th Movement and the artistic law of poetry itself.
Lake poets Poets Lakeside (1922) The love poems of Wang Jingzhi, Feng Xuefeng, Pan Mohua and Ying Xiuren.
"Little Poetic Style": Stars in Bing Xin, Springs, Zong Baihua's cloudy poems.
China's Most Outstanding Lyric Poet (Lu Xun's language) Feng Zhi's poetry collection Song of Yesterday is semi-metrical in form, which embodies artistic introversion everywhere, and later Wen Yiduo is similar.
3. Standardization of New Poetry-Crescent School
If Goddess broke the rules of traditional poetry with the spirit of complete destruction of "extreme freedom and extreme autonomy", then the crescent school came into being on demand. Based on the Beijing Morning Post Supplement, Wen Yiduo, Xu Zhimo, Zhu Xiang, Lin, Rao Mengkan, Sun Dayu and Liu advocated "rational emotional control". "Red Candle" and "Dead Water" are the concentrated expressions of his poetry creation. Xu Zhimo is a modern reconstruction of classical ideals. The combination of flying and elegant poetry and the pursuit of formal beauty makes Xu Zhimo always grasp the unique "poetry" and "original poetry" of each poem and find the corresponding poetic rhythm. Zhimo's poems seek the unity of beauty in content and form through constant experiments and creations.
4. Early symbolism poetry
Mu put forward the concept of pure poetry, thinking that poetry and prose have completely different fields. "The world of pure expression gives the field of poetry, and human life gives prose", "The world of poetry is the world of the subconscious", and poetry is "the reflection of inner life" and "the true symbol of inner life". Secondly, poetry should have a different way of thinking and expression from prose: "Poetry should be implicit, and poetry is the most taboo to explain. Description is something in the prose world. " Li Jinfa's Light Rain, Diner, Bad Time and Song of Happiness are representative works of early symbolism poetry.
B. Second year 10:
1. Chinese Poetry Society
It is a mass poetry group led by the Left League, which inherits the early proletarian poetry tradition in Jiang Guangci in recent ten years, with Yin Fu as its representative. Features: First, it reflects the revolutionary struggle and major events of the times; The second is to emphasize the ideological nature of poetry, and the subject of poetry is not the poet himself but a fighting collective; Third, pay attention to realism in artistic expression. This somewhat deviates from the essence of poetry, that is, the venting of individual life feelings.
2. Evening Crescent School
The focus of lyricism has turned to "the trembling of the soul", which shows the trembling of the soul and the alienation of modern people's spirit. Xu Zhimo's Tiger Collection and Wandering Collection are the representatives in this respect. Farewell to Cambridge belongs to this period, but emotions are still the sequela of the previous period. New poetry schools, such as Chen Hefang, are mostly students of Xu Zhimo. Lending and experimenting in the form of "sonnets".
3. Modernist poets
Shi Zhe's Modern Poetry about Our Magazine published in Modern is regarded as a declaration of modernist poetry. The emphasis should be on writing pure modern poems, which are inherited from early symbolic poems in pedigree; Express the modern feelings that modern people feel in modern life and organize them into modern poems with modern words. "Poetic leaders" are Dai Wangshu and Bian. Among them, Dai Wangshu won the reputation of "Rain Lane Poet" with his poem Rain Lane.
4. Hanyuan Three Poets
1936 Hanyuan Collection includes Jenny von westphalen Collection by He Qifang, Collection Line by Li Guangtian and Multi-line Collection by Bian. The most striking thing about Bian is that he was influenced by Xu Zhimo and Dai Wangshu. He provided something new for new poetry, that is, the change from subjective emotion to subjective wisdom. He is a poet with conscious philosophical consciousness in the history of new poetry, and there are surprises in his poetry because he is good at philosophical infiltration and excavation of daily life phenomena.
Among modernist poets in 1930s, another author of wisdom poems was Fei Ming. He is an oriental modern poet. What blends into his soul is the essence of Buddhism and Taoism, which is the tradition of poetry and Zen.
C. 10 in the third year:
1. Ai Qing
In the history of China's poetry development, he completed the task of historical "synthesis". On the one hand, he insisted on developing the tradition of "China Poetry Society" poets being loyal to reality and fighting, on the other hand, he overcame the weakness of sublating their "childish cries", and at the same time, he critically absorbed some achievements of modernist poets in exploring the art of new poetry, further enriching and developing the art of poetry. He absorbed Guo Moruo's passion and Crescent School's pursuit of external form, and Ai Qing made China's new poetry begin to pursue an internal beauty. Become the most influential poet in the third decade. He is also one of the first new poets in China to go to the world.
2. The emergence of the July Poetry School
At the beginning of the Anti-Japanese War, China Poetry Society, Crescent School and modernist poets all sang the battle songs of national liberation. During the stalemate in the Anti-Japanese War, people's understanding of the content and form of poetry reached a new level after the debate between the aesthetic artistic characteristics of poetry and political propaganda. There are many academic works that raise the discussion on the art of new poetry to a theoretical level: On Poetry by Ai Qing, Miscellanies of New Poetry by Zhu Ziqing, The Art of Poetry by Li Guangtian and On Poetry by Zhu Guangqian. There is a conscious pursuit of lost poetic individuality in poetry creation. Cang Kejia wrote Song of the Earth, and Dai Wangshu wrote The Years of Disaster, which showed a change in style and incorporated "self" into "self". During this period, the most influential school was the July Poetry School. Under the influence of Ai Qing, this school of poetry is a group of young poets with Hu Feng as the center and publications such as July as the main position. Representative poets are:, Lu Yuan,, A Long,,, Fang Ran, Han Niu, etc. Advocating revolutionary realism and free poetry as the main banner has a great influence in the Kuomintang-controlled areas.
3. From campus poets such as Feng Zhi to "China New Poetry School" represented by Mu Dan.
It is composed of the older generation poets such as Zhu Ziqing, Wen Yiduo, Bian, Li Guangtian and other young poets such as Mu Dan (Cha), Du Fu, Yuan Kejia, Yu Mingchuan, Zhao Ruizhi.
It is the historical opportunity that concentrates the main representatives of new poetry in this humble world. China's famous, unknown, molded and unformed poets have entered a rare and rare "submerged" state on the road of life and art, first of all, the "sinking" of life-this is a kind of life sinking after experiencing the exile of war and having rich life experience: they face the reality and meditate naturally, and dive into the depths of their hearts the heaviness and disaster of life on the land of China, which will be based on. Zhu Ziqing's Miscellaneous Poems and Li Guangtian's The Art of Poetry are the most important achievements. They are both classic works of new poetry theory published at the same time as Zhu Guangqian's On Poetry and Ai Qing's On Poetry. In order to find more artistic resources for the development of new poetry, their artistic exploration extended to the tradition of ancient poetry (literature and culture) in China, and at the same time, they studied and studied western literary classics. Teachers and students communicate directly with teachers in the contemporary world with broader horizons: Feng Zhi and Bian translated and introduced Rilke's poems and novels, and Yan Buxun began to talk about contemporary poetry as a contemporary British poet. Auden's trip to China in this period made the creation of campus poets in the 1940s take the contradiction (split) between reality, life and self as the main pursuit and feature. They upgraded their gaze on reality and soul to a universal and transcendental human experience and metaphysical life experience, and at the same time, they transformed it into an aesthetic form through the discussion and experiment of modern poetic thinking and language. This consciousness of "intellectual promotion and integration" and "text experiment" fully embodies the characteristics of campus poetry.
It is in this sense that Feng Zhi's sonnet has become "the most concentrated and fully expressing the theme of life" in the history of China's new poetry, and it is a song of life meditator, which makes China's modern poetry have "metaphysical character" for the first time.
4. kuya School
After War of Resistance against Japanese Aggression, Mu Dan, Du Fu and Yuan Kejia returned to the north. They and Xin Di, Hang Youhe, Chen, Tang Qi and Tang Shu in the south looked for each other, echoed from a distance, and confirmed each other's nature. They set foot hand in hand on China's new poetry from a distance. Although these people have never met, they have met. 198 1 year, several of their old poets collected and published their collection of poems "Nine Leaves", and later "Nine Leaves School" became a popular title at home and abroad. On the one hand, the nine-leaf poetry school is popular because the poems in the 1940s were unearthed in the dust, on the other hand, many of them have revived their creative youth in the new era. In other words, kuya School, as a school of poetry in the 1940s, was still active in the 1980s. In the history of literature, the Nine-leaf Poetry School headed by Mu Dan is called "China New Poetry School". They emphasized: first, the modernization of poetic thinking mode. Second, attach great importance to the application of daily language and speaking rhythm. "Only changeable, flexible, fresh and vivid words and rhythms can properly and effectively express the strangeness and sensitivity of modern poets' feelings and the rapid changes of their thoughts. "Emphasizing the basic transformation of poetic thinking and language is the characteristic of China New Poetry School, which also reflects its rebellion and heterogeneity, which is only a distant echo of early vernacular poetry. This school of poets can be revived and re-recognized in the 1980s, perhaps because of its consistency with contemporary poetry in aesthetic value. In other words, China School of New Poetry is a summary of the development of modern new poetry in China in the past 30 years and a preparation for the formation of contemporary poetry in China. Undoubtedly, Mu Dan (1918-1977), the representative poet of China New Poetry School, can best reflect this rebellion and heterogeneity. Mu Dan wrote his new discovery in his masterpiece Fortress Besieged: "A circle, how many years of labor, our despair will make them complete. Destroy it, friend! Let ourselves be its deformity, worse than mediocrity-lightning and rain, new temperature and hope will pour: push down all respect! Because we have been surrounded by a group of people, we will turn over and have a new land awakening. ..... "The historical task of establishing the thinking mode and emotional mode of modern new poetry put forward by early vernacular poets was initially implemented by Mu Dan, which is naturally of great significance.