Introduction: The new face of classical poetry. Since Hu Shi's first collection of vernacular poems "Trial Collection" and Guo Moruo's new poem "Goddess" created the writing atmosphere of writing new poems in vernacular form, they have different reforms and innovations from China's old-style poems in terms of content, composition and language characteristics. The development of new poetry is more or less branded with traces of the historical background at that time. Here, let's take a bird's eye view of the development of new poetry and say some related broken words.
(a), the groundbreaking first vernacular poetry anthology "Trial Collection".
The New Culture Movement is an ideological and cultural revolutionary movement including literature. She originated from New Youth magazine founded by Chen Duxiu in 19 15, and advocated "vernacular" as the writing form. She laid the foundation for the birth of new literature, and new poems surfaced at this time. Hu Shi, the advocator of the May 4th New Culture Movement, 19 16 began to write poems in vernacular Chinese in July, and 1920 published the Trial Collection in March. Created the first real attempt in the history of new poetry.
Attempt Collection is the first vernacular poetry collection in the early period of China's new literature. These poems, written around the May 4th Movement, are written in a way that pursues vernacular language too much and is too straightforward, at the expense of the important features of poetry-charm and artistic conception. Although most of them lack profound and meaningful poetry, they have a certain sense of the times and cognitive value, and there was a refreshing atmosphere at that time. His masterpiece Dove is called "the first cry" in China's modernist poetry. It can be seen that the more important significance of Trial Collection is that it is an "attempt to open the atmosphere" in the history of the development of China's new poetry, which has played a great role in promoting the development of the new poetry movement.
China's new poetry was born without continuity with classical poetry, but she still stood out as a warrior in the New Culture Movement and developed with great vitality. Looking back on the development history of new poetry, we should not forget the pioneering work of Try Collection. The birth of Trial Collection also announced the birth of new poetry.
(2) Goddess, the great cornerstone of new poetry.
Hu Shi's Trial Collection is China's first new collection of poems. But the first person who can be called a new poem is Guo Moruo. Guo Moruo, as a great poet and brave warrior during the May 4th Movement, was engaged in his creation under the lofty belief of pursuing freedom and creating a new world. He yearned for the revolutionary force and spirit that promoted the birth of the motherland, and enthusiastically praised the bright future of the motherland and mankind. All this is reflected in the goddess he created between 19 19 and 1920.
Goddess produced the strongest sound during the May 4th Movement, which made people firmly believe that a new world was about to be born. Goddess also created a new generation of romantic poetic style in artistic characteristics and style. The majestic momentum of swallowing heaven and earth, the power of thunder and lightning, the image of self-innovation with revolutionary spirit, magnificent imagination, magical exaggeration, fast melody and changeable sentence patterns clearly and strongly show the romantic characteristics of the goddess. The most representative poems in the collection Goddess are Phoenix Nirvana, Goddess Rebirth and Market in the Sky.
The influence of Goddess is profound, huge and extensive, and even affects other fields of literature and art.. She is a collection of poems recognized as having a foundation role in the development history of new poetry. The publication of Goddess laid a solid foundation for the development of new poetry.
(3) Liberals with the greatest achievements and the deepest influence.
After the publication of Guo Moruo's poetry collection Goddess, it marks the beginning of a "comprehensive" period of new poetry creation. The goddess' free poetic style makes poetry enter a writing form that is not limited by space. Many poets are influenced by the goddess' writing form in their creation, resulting in liberalism.
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Liberalism can be said to be the earliest, most successful and most influential school of poetry in the New Literature Movement. She broke the language, format, flatness and rhyme of classical poetry and created a free new poem with vernacular as the language. Most poets and their works belong to this school, but Hu Shi's Trial Collection and Guo Moruo's Goddess are still the first representative works in the early stage of new poetry creation.
(4) The first peak of poetic art-metrical school.
Liberalism, which rose and developed around the May 4th Movement, presented some irregular free poetic styles, which threw the form of poetry into chaos. In order to correct the excessive freedom and scattered cultural tendency of liberals. Wen Yiduo and others began to create some regular poems, namely new metrical poems. Emphasize that poetry should have the beauty of music, painting and architecture (Wen Yiduo's "three beauties").
The crescent school, which was formed in the crescent society from 65438 to 0923, is the backbone of the metrical poetry school. The Crescent School advocated "dancing in chains" and began to correct the poetic form of the Free Poetry School. It is pointed out that the vitality of poetry lies in its internal syllables, so we can re-recognize the rhythm of poetry at a new height and explore the introverted beauty of new poetry language. Wen Yiduo's Dead Water and Xu Zhimo's Farewell to Cambridge are formal, orderly and full of musicality, which embodies the characteristics of new metrical poems. Give a strong impression. The crescent school enriched and promoted the art of poetry, and new poetry reached a new peak. The poetic creation and theoretical construction of the Crescent Poets have established the position of the Metric School in the history of new poetry, which is a peak of the poetic world and the most important watershed of China's new poetry.
(5) Symbolism school influenced by foreign culture.
There are also two major confrontations between May 4th poetry and other styles, one is the confrontation between old and new cultures, and the other is the confrontation between Chinese and Western cultures. Symbolism poetry school is produced under the influence of western culture. The symbolism poetry school introduced the thoughts and techniques of French symbolism poetry into China's poetry world to express its hazy, decadent and empty thoughts and feelings.
Li Jinfa, a "strange poet", is the pioneer of symbolism poetry school. He studied in France and his writing was influenced by French symbolist poets. He believes that art is purely subjective, and poetry is the expression of the poet's subjective consciousness and emotion. The representative collection is Xiaoyu. (6) The first new poetry club in the history of new poetry. With the growth and development of various schools, various organized new poetry societies and schools have emerged in China. 192 1 the early establishment of the new poetry club in Hangzhou is the first new poetry club in the history of modern poetry development in China. The main organizers are Zhu Ziqing, Yu Pingbo and Ye. Poetry Magazine is also the first new poetry publication in the history of modern poetry development in China.
Various ideas and propositions of China's new poems have also entered into mutual exchanges and discussions, competing with each other. Next, I will talk about various specific schools of new poetry and influential masterpieces. (7) Modern poetry school with "modern characteristics".
Modernism, represented by Dai Wangshu and Ka, got its name because most of its creations were published in Modern magazine. Modernism appeared after the Crescent School, with similar ideological tendencies, but advocated the opposite. Modernity has become a characteristic different from other schools, and it is also the goal pursued by modernist poets. Dai Wangshu, the poet of Rain Lane, 1928 wrote Rain Lane. The most striking feature is the alternation of long and short poems and the rhythm of reciprocating to set off my confused and melancholy mood. The Dream Catcher, written by him, enlightens modern and subtle emotions with complex images and has the beauty of image space. Dai Wangshu became one of the most representative poets in the theory of poetry creation in the 30 th century with his own creation, poetry anthology My Memory and On Poetry.
Poetry in modern schools expressed the thoughts and feelings of intellectuals at that time. They wander in the contradictory emotions between dream and reality, right and wrong, express themselves in the form of changing poems and hide themselves.
(8) The last school of poetry in 1930s.
The main members of kuya Poetry School are nine poets, including Xin Di, Chen, Mu Dan and so on. Nine-leaf Poetry School is the development and perfection of the poetry theory of Eliot and other western modern poets in China.
The Nine Leaves Poetry School also has its own theoretical proposition that poetry must be "modernized" and "dramatic". In the content of poetry, it emphasizes the unity of reflecting reality and excavating the heart.
(9) Unique "Bing Xin Ti" and pure Huxiang poets.
In the creative atmosphere of poetry at that time, we can't help but mention this poem, which is known as "Bing Xin Ti". It was elegant and unique at that time. Bing Xin's short poems have lively or implicit feelings, fresh and lively poetic style and philosophical thinking. The collection of poems "Stars" and "Springs" vividly express the characteristics of "Bing Xin Ti" in just a few lines. There is also a pure "lake poets", who, as a student, sings poems belonging to that era, no matter handsome or brave, giving the poetry world a touch of comfort.
(10) Ai Qing's patriotic poems on the battlefield.
From 65438 to 0937, the outbreak of War of Resistance against Japanese Aggression aroused the patriotic feelings of the whole Chinese nation. Poets such as Ai Qing and Tian Tian became the drummers of the times. They actively use poetry as a tool to defend their homeland. Ai Qing's "I Love This Land" and "Dayan River, My Nanny" are both shrouded in the poet's great concern for the fate of the motherland and the people and his eager pursuit of light. On the battlefield, "Suppose we don't go to war" and "To Soldiers" can be called "mobilization books" of war, which are full of strong political agitation, so he won the glorious title of "drummer of the times".
Of course, in the 1930s and 1940s, the society in China forced poets to turn from the art palace to face up to the bloody reality. Poetry of this period: passionate and passionate revolution covers everything. Poetry, as a revolutionary tool, has a great number, but its artistic value is regrettable. New poetry has made a more arduous exploration on the road of art.
(11) Emphasize the realistic spirit of the July Poetry School.
During the Anti-Japanese War, a group of poets, such as Lu Yuan, Fang Ran and Han Niu, gathered in the positions of Selected Poems in July edited by Hu Feng. They were deeply influenced by Hu Feng's "subjective fighting spirit" and Ai Qing and Tian Tian's patriotism. This group is called "July Poetry School". They warmly embrace and express the fiery life and emphasize the spirit of realism.
(12) The poetic style of "faithfulness" which began in Wang Gui and Li Xiangxiang.
After the Yan 'an Forum on Literature and Art, revolutionary literary and art workers generally attached importance to the collection, research and creation of folk songs. Li Ji's long narrative poem Wang Gui and Li Xiangxiang came into being under this background. He creatively wrote it in the form of northern Shaanxi folk song "Xintian", which has distinctive national characteristics. It breaks through the limitation that the folk song Pilgrim's Progress is a simple short story, which mostly expresses the love between men and women, and makes the long poem have the style of China.
Wang Gui and Li Xiangxiang is a successful attempt in artistic expression and a new starting point for China's new poetry creation on the road of popularization and nationalization. It is a "milestone" poem in the development of new poetry since the May 4th Movement.
(XIII) The development of Chinese mainland and Taiwan Province's new poetry in 1950s and 1960s.
1949 10, New China was founded. Eulogize works such as Ode to Xinhua (Guo Moruo), Cheers (Ai Qing) and New Star (Cang Kejia) have long been the mainstream of literary creation. Too grandiose slogans make new poetry lose its independence as literature. Poets who represented the social spirit in 1950s and 1960s included Guo Xiaochuan and He Jingzhi. They feel the new era with enthusiasm. But generally speaking, the overall level of literature in the 1950s and 1960s, which was deeply influenced by the leftist trend of thought, was not high, and poetry was no exception.
However, at this time, the poetic modernist movements of Taiwanese accent, Ji Xianlin and Qin Zi were flourishing. The main poets are Yu Guangzhong, Zheng Chouyu, Ya Xian and Ai. Poems such as Mistakes (Zheng Chouyu) and Nostalgia (Yu Guangzhong) are full of the beauty of China literature, but at the same time they are full of endless life melancholy and faint but lingering homesickness. This feature is often felt in China's classical poems, but it is hard to find in the contemporary mainland new poems.
(14) The awakening of new poetry in the late 1970s.
1The Tiananmen Poetry Movement on April 5, 976 was a mass spontaneous poetry movement. The new poetry began to shake off the political influence of the Cultural Revolution, and woke up after a sleep. What really awakened the representative poetry was the "misty poetry school" that emerged from the ground several years later, and its groundbreaking content and formal skills shocked the whole poetry circle.
As a whole, misty poetry first appeared in folk publications, and it was recognized by the mainstream literary world after all kinds of pains, because the literary creation at that time was still used to the traditional revolutionary expression. Shu Ting's To the Oak, Gu Cheng's Flowers Without a Name, etc. All of them strengthened their writing consciousness, publicized themselves, highlighted their own personality, abandoned Confucius and Mencius, and added new brilliance to new poetry. The misty poetry school endows new poetry with fresh artistic vitality with its unique artistic exploration.
(15). In the 1980s and 1990s, the tide continued to rise.
When misty poetry ascended the steps of idols and became a symbol of the spirit of the times, her vanguard gradually disappeared. In 1980s and 1990s, the general characteristics of new poetry were repeated trends and numerous factions. However, no matter which one calls himself a poetry school, it has not formed a mature climate. Since then, poetry creation has shown more complicated exploration and thinking.
After 1990s, great changes have taken place in China's social economy and culture. People's ideas have also changed a lot. Comprehensive journals cut out the contents of poems. Poetry that once led coquettish in one period after another lost its central position, and some poets turned to other styles or even gave up writing.
School of campus poetry, school of female poetry (literature), school of young writers, school of online poetry, etc. have all injected new strength into the development of new poetry to a greater or lesser extent. It can be said that the main position of their early creation was folk publications. The representative works of recent poetry circles are more in folk publications, not just in mainstream publications. Writers born in the 1970s have become the main force in today's poetry circles, and the poems of Haizi, Gu Mu, Xichuan and Yu Jian have somewhat inspired the silent poetry circles.
Born in 1980s, Xiao Sheng, following the footsteps of 1970s, made great efforts to charge the peak of new poetry with strong overall strength. The situation of new poetry creation in recent years requires us to explore and practice in all aspects. Handshake is willing to be the base of this accusation. Let's use our thinking to launch a stronger charge on new poetry.
General remarks: "Three Persistences" in New Poetry. In the development of China's new poetry, it has made far more important contributions than the schools or societies mentioned above. They are not completely separated and completely different, but closely related to the laws of art. The "struggle" or replacement between schools (societies) is actually a dialectical development process of "affirmation-negation-affirmation" in many aspects, such as the art of new poetry. Since the May 4th Movement, China's new poetry has really broken through the classical model of thousands of years and started the historical process of modernization, forming a pattern of convection, complementarity and integration with foreign national poetry culture. No matter how new poetry develops, what will happen in the future. We should all adhere to the "three points". First, the creation of poetry should be combined with real life. The creation of any new poem should be your understanding of life, and you should also extract the essence worth writing from life. Second, writing poetry should adhere to the value orientation of poetry. New poetry is a pure art form, which pays more attention to the conciseness of thought than other styles and embodies the value people pursue. Third, poetry must have the characteristics of poetry. Poets should further improve their new poems on the basis of China's classical poems, so as to make them have distinctive China characteristics. From this perspective, I miss the poems written by Xu Zhimo, the most poetic poet.
The above "three-point persistence" is the point I want to express when writing this article. It has been less than 100 years since the emergence of new poetry, but it has developed with great revolutionary power and played an active role in social life. New poetry has made irreplaceable artistic achievements in all aspects. We have reason to believe that new poetry will have more room for expansion (diversified development) and the future of new poetry is bright.