From "composing poetry to composition" to metricalization
At the beginning of the literary revolution, vernacular and classical Chinese competed fiercely. It was at this time that new poetry broke away from the influence of thousands of years of old poetry. The shackles came into being, but with the great liberation of poetic styles, the tendency of new poetry and prose culture naturally appeared. The advocates of new poetry all emphasized freedom of expression and doing whatever you wanted. This made the new poetry like wild horses running free, running independently, but without * **Must comply with the metrical requirements, which caused a certain amount of confusion in the poetry world at that time. It is against this background that the Crescent School, as an important poetry school in the history of modern new poetry, appears in the chaotic literary world with a new attitude and shines brightly. The New Moon Poets were influenced by Rabindranath Tagore's "New Moon Collection" and were dissatisfied with the style of "free poets" who neglected poetic skills after the "May Fourth Movement". They advocated new metrical poetry, advocated "rational restraint of emotion", and opposed sentimentalism and prose culture of poetry. Tendency, from theory to practice, the metricalization of new poetry was carefully explored. The "Crescent Society" launched in Beijing in 1923 by Chen Yuan, Xu Zhimo, Wen Yiduo, Liang Shiqiu and others was just a social "dinner party", and most of its members were students studying in Britain and the United States. Soon, a group of poets gradually formed within it, and the Crescent Poetry School was born.
The early Crescent School was a group of poets formed in 1926 based on the "Poetry" of Beijing's "Morning Post Supplement". It advocated new metrical poetry and advocated the "Three Beauties". The main member was Wen Yi Duo, Xu Zhimo, Zhu Xiang, Rao Mengkan, Yang Shien, Sun Da, Liu Mengwei, Yu Gengyu and others. After the new poetry had basically established itself, the main task of the Crescent School was to "build an indispensable bridge between the new poetry and the old poetry". At the same time, the focus of creation shifted from the early vernacular poets to focusing on "vernacular", that is, " De-poetization turns to poetry itself, that is, "making new poetry become poetry". From this, the Crescent Moon School raised the banner of "making both the content and form of poetry express the power of beauty and becoming a perfect art." , thus bringing China's new poetry creation into a conscious era.
The late Crescent School is the continuation and development of the early Crescent School. It takes the new poetry column of the monthly "Crescent Moon" founded in 1928 and the quarterly "Poetry Magazine" founded in 1930 as its main positions. In addition to the old poets such as Xu Zhimo, Rao Mengkan, and Lin Huiyin of the early Crescent School, its members mainly include Chen Mengjia, Fang Weide and other Nanjing young poets who are students of Nanjing Central University. The late Crescent School took Xu Zhimo as its main banner. As the form of poetry changed from rhythm to free development, poetry focused on poetic sentiment and returned to the heart, proposing the principles of "health" and "dignity". Adhere to the position of "pure poetry" that is ultra-utilitarian, self-expressive, and aristocratic, and emphasize "the mellowness of essence, the meticulousness of technique, and the rigor of rhythm."