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.