How does Wen Yiduo rationally control his emotions in his poems?

Starting from the firm view of poetry ontology, Crescent Poetry School put forward the aesthetic principle of "rational control of emotion" and the proposition of formal metrical poetry, which complement each other. The Crescent Poetry School believes that "if you just rise and fall in the whirlpool of feelings and there is no specific situation to rely on, such poems will either groan or have nothing to say". Therefore, they oppose the excessive overflow of feelings in poetry and advocate rational restraint of feelings-whether it is self-expression of personal feelings or direct exposure of social darkness, they should be restrained. In order to realize the aesthetic principle of "rational control of emotion", they made a new attempt in the theory and practice of poetic artistic expression. The first is to create an objective and indirect lyric way. On the one hand, he changed the lyric way of "expressing his chest" into the objectification of subjective feelings, on the other hand, he deliberately restrained personal feelings and tried to distance the poet from objective reality. This is obviously a contribution to the lyric art of new poetry, but the restraint of personal feelings by the Crescent Poetry School has more complicated significance. On the one hand, it has played a positive role in overcoming the tendency of emotional exposure and flooding in May 4th new poetry. In a sense, it can be said that artistic creation from indulgence to restraint is a regular development and a manifestation of artistic maturity. In order to carry out the aesthetic principle of "controlling emotions", another important attempt of Crescent Poetry School in artistic expression is to attach importance to the creation of poetic thoughts and the carving of images. This kind of image is the unity of meaning and image, the unity of emotion and reason, and only the interaction between mood and physical environment. On the basis of their life experience, after long-term meditation, they project an idea and an emotion onto objects, creating a profound artistic conception or image. The real function of this image is that it can be used as an abstract thing, a symbol, that is, the load of thought. For example, the two images, Still Water and Silent Night (Heartbeat), are brand-new creations of Wen Yiduo, summarizing Wen Yiduo's profound understanding of the dark and silent old China society. As an artistic image, it was active in Wen Yiduo's artistic thought in the 1920s. This is Wen Yiduo's artistic method of "turning ugliness into beauty" and "turning decadence into magic", which enriches and develops the image system of China's poems. Wen Yiduo also smelted and evolved the image of poetry by refining words and sentences, in which verbs were used skillfully and vividly, and some poems were simply image group centered on verbs. Wen Yiduo pays attention to the casting of images or artistic conception, and adopts the expression technique of "closing the sword", that is, he condenses strong feelings in concrete images and converges in a rigorous form. If you indulge your feelings and vent your passion, it will be difficult to combine or melt into poetic images. In order to "control emotions", the Crescent Poetry School often uses symbolic means to express emotions. Their symbols are different from those of symbolism poetry. Symbolic poetry connects irrelevant things, which leads to ambiguity and ambiguity of symbolic meaning, while the symbols of crescent poets mostly look for the correspondence and similarity between emotions and external things, so the meaning is relatively clear and pure. However, because there is a symbolic buffer between the object and the subject, and between the external object and the internal story, the strength of feelings is constrained and restricted to some extent, so poetry becomes implicit.