1926, around the Beijing Morning Post, a group of poets, including Wen Yiduo, Xu Zhimo, Zhu Xiang and others, were gathered who were determined to create metrical patterns for new poetry. They also founded the "Crescent School" and "Poetry" magazines, hence the name "Crescent School". Among the crescent poets, Wen Yiduo's theory is the most complete and clear, and he advocates poetry. The beauty of architecture (mainly refers to the symmetrical arrangement order of poems) requires "rational control of emotions" and dancing with "shackles", which is a higher aesthetic requirement for poets.
Besides Xu Zhimo, the "important town" of the "Crescent School" is Wen Yiduo. There are poems "Red Candle" and "Dead Water". "Dead Water" carries out the pursuit of "three beauties" and is famous for its fantastic imagination, harmonious rhythm, orderly format and bright colors. Among them, the poem "Dead Water" takes "Dead Water" as a symbol of the decadent society in old China.
In the late 1920s, the symbolism poetic style rose again. The famous poet Dai Wangshu's Rain Lane is influenced by the style of western symbolism poetry. 1928, with two images of "girl" like "rain lane" and "lilac", interweave together to imply an erratic mentality, which is a beautiful, hazy and sentimental atmosphere.
The "modernist" poetry school refers to a group of poets around Modern magazine after 1932, including Dai Wangshu, He Qifang, Bian, Fei Ming, etc. He Qifang's "Prophecy" and other poems are gorgeous and exquisite. Bian's works in Line Collection and Fish Collection are good at daily life.
In 1930s, there was another wave of poetry, namely, the revolutionary poetry movement advocated by the "Left Alliance", with the China Poetry Association established by 1932 as the backbone, which was characterized by closely following the changes of the times, expressing revolutionary passion, and pursuing the popularity and grandeur of forms. Ai Qing and Cang Kejia, who became famous in 1930s, are also poets who are close to reality and have a strong sense of revolutionary mission. Their works can better represent the reality of this period.
"July School" and "kuya School" can better represent the development level of new poetry during the Anti-Japanese War and the 1940s. Under the influence of Ai Qing, the "July School" is a group of writers and poets with the theorist Hu Feng as the core, and its representative figures are Luyuan, Along, and so on.
"Nine Leaves School" is another group of poets (also known as "China New Poetry School") whose style is centered on China New Poetry and other publications in the 1940s. The representative poets are Xin Di, Mu Dan (otherwise specially introduced), Du, Chen, Hang Ruore, Tang Qi, Tang Xie, Yuan Kejia and so on. In the 1980s, they published nine poems.
Poetry in the 1950s and 1960s has very distinct characteristics of the times, and political lyric poetry is one of the most popular styles in this period. "Tiananmen Poetry Movement +0976" is a spontaneous mass collective poetry creation movement. 19966.8886868866 17
The trend of realistic poetry first appeared in the new period, and then there was a discussion about "misty poetry", which showed that a new generation of poetry was rising in the literary world.
Misty poetry is not only a group of poets or a kind of poetry, but also a rebellious and avant-garde creative trend of thought. Because his works use general symbols in art and have fuzziness and uncertainty in expression, they are called "misty poems". Such as North Island, Shuting, Gu Cheng, He Jiang and Yang Lian. , is the representative writer of "misty poetry".
The "new generation" is a complex group of poets, which almost originated from the "misty poetry" group in the early 1980s and eventually became the mainstream in the 1990s. Among them are the so-called "post-hazy" poets represented by Haizi and Wang Jiaxin, and the "third generation" poets represented by Han Dong and Yu Jian. Their characteristic is that they pay attention to the aesthetics of daily life and have opposite values.
The development of Tang poetry can be divided into four periods: early Tang, prosperous Tang, middle Tang and late Tang.
[ 1]
The early Tang Dynasty was the pioneering period of Tang poetry. In the early Tang Dynasty, the floating poetry style of Qi Liang was inherited, and palace poetry was popular. Wang Ji is a poet who can get rid of the floating poetic style of palace poems. He admired Tao Yuanming's life attitude and poetic style, mainly describing rural scenery and personal rural life, and his poetic style was sparse.
"Four outstanding poets in the early Tang Dynasty" refers to four poets: Yang Jiong, Lu and Luo. Their main contribution is to destroy and transform palace poems, formulate five laws and develop seven-character songs. After the "Four Masters", Shen Quan and Song are two poets who shape metrical poems.
Chen Ziang was the first writer who raised the banner of poetry innovation in the Tang Dynasty. He praised the ancient poems of Han and Wei dynasties and advocated "the style of Han and Wei dynasties" and "elegance". He took retro as innovation, swept away the floating poetic style of palace poetry, corrected the development direction of Tang poetry, and paved the way for the peak of Tang poetry.
[2]
Poetry in the prosperous Tang Dynasty represents the highest achievement of Tang poetry. The two schools of poetry in the prosperous Tang Dynasty are the pastoral poetry school represented by Wang Wei and Meng Haoran and the frontier poetry school represented by Gao Shi and Cen Can. Wang Changling, William Wang, Wang Zhihuan, Li Qi, Cui Hao and other important poets of the Frontier Poetry School. Li Bai and Du Fu were two great poets in the prosperous Tang Dynasty, and their poems represented the highest achievements of Tang poetry and even China's classical poetry. Zhang, He, Zhang Xu and Bao Rong are called "Wuzhong Four Scholars".
[3]
Poetry creation was at a low point in the early middle Tang Dynasty, and reappeared in the later period. Ten poets who enjoyed great fame in Tang Daizong during the Dali period were collectively called "Ten Talents in Dali Period". Yuan Jie and Gu Kuang in the early middle Tang Dynasty paid attention to reflecting people's livelihood, and they were transitional poets between the new Yuefu advocated by Du Fu and the new Yuefu movement headed by Bai Juyi. In the early middle Tang Dynasty, Liu Changqing and Wei were famous for their landscape poems, and they were another great master after Wang Wei and Meng Haoran. The frontier poems of Lu Lun and Li Yi are the latecomers of Gao Shi and Cen Can. The two major schools of poetry in the middle and late Tang Dynasty were the New Yuefu School and the Han Meng School. In the middle Tang Dynasty, a group of poets, represented by Bai Juyi and Yuan Zhen, consciously carried forward Du Fu's realistic spirit, searched for poetry materials from the source of life, created a large number of Yuefu poems with new themes, used new languages and marked new poems, which set off the New Yuefu Movement. The backbone poets of the New Yuefu Movement are Zhang Ji, Wang Jian and Li Shen. Han Meng Poetry School and New Yuefu Poetry School appeared almost at the same time, represented by Han Yu and Meng Jiao respectively. They flaunt "Chen Yan Wu Qu", admire Gu Zhuo, seek adventure, avoid familiarity in art, and deliberately seek novelty because of difficulties, forming a peculiar style. In addition to the two major schools of poetry, outstanding poets include Liu Yuxi, Liu Zongyuan and Li He.
[4]
The late Tang Dynasty is the period when the setting sun of Tang poetry shines again. The overall situation of the poetry world is a strong sentimental atmosphere and a prevailing carving atmosphere. Li Shangyin and Du Mu are very famous poets in the early late Tang Dynasty, and they are called "Little Du Li". They are also the most accomplished poets in the late Tang Dynasty. In the middle and late Tang Dynasty, a group of poets, represented by Pi Rixiu, Nie and Du Xunhe, carried forward the creative spirit of the New Yuefu School in the middle Tang Dynasty and paid attention to reflecting people's livelihood, but their artistic achievements were not high.