Poetry should have historical and cultural connotations. The work must be grand and substantial, and must have profound historical and cultural connotations. Culture is the inherent essential characteristic that distinguishes a nation from other nations. It includes a nation’s character, temperament, spiritual pursuits, customs, literary and artistic characteristics and other spiritual aspects. National culture should be affirmed and promoted in poetry creation, so that the works can be imprinted with the national brand. Generally speaking, the more national a work is, the more international it is. And history and culture are often intertwined, allowing us to feel their atmosphere and power everywhere.
(6)
Poetry should be understandable to the target readers. Creating poetry is about communicating thoughts and feelings with the target readers, and "being able to read and understand" is the prerequisite for communication. Readers spend money to buy your work and spend time reading your work, but you deliberately make people unable to understand it, cover it up with clouds, and pretend to be profound. Such an author disrespects readers very much and lacks poetic ethics. I am opposed to the obscurity trend in the literary world in recent years, which has caused poetry to lose a large number of readers. Nowadays, many poetry newspapers and periodicals publish a large number of works that are difficult to understand (or vulgar works). They use the banners of "experimentation" and "sexual liberation", and the guise of "riddle poems", "palindrome poems" and "acrostic poems". They say they are "stream of consciousness", "innovation" and "acrostic poetry". "Wise". If you can't read it, it only proves that you are "outdated" and "mentally retarded". Poetry editors are largely responsible for the prevalence of obscurity. They control the page and have the power of life and death over manuscripts.
(7)
Some people say: "There is no distinction between old and new poetry. It is absurd to propose the concept of 'new poetry'." Looking at the themes and contents expressed in poetry in the past dynasties, I am Agree with this statement. "The Analects of Confucius - Yang Huo" says: "The Master said: Why should I, young man, learn from my husband's poetry? Poetry can be exciting, contemplative, grouping, and resentful." It can be seen that the essence of poetry is "lyric expression of ambition", and the theme content has not changed to this day. Naturally, there is no distinction between "new" and "old"; but from a poetic perspective, I dare not agree with this point. Anyone with a little knowledge of ancient Chinese knows that our country is a country of poetry. Not only the theme content of poetry involves all aspects of social life, but also the poetry style includes folk songs, ancient styles, Sao style, Yuefu, rhymed poetry, quatrains, lyrics, songs, etc. divided. Compared with "The Book of Songs", "Li Sao" is already a "new (style) poem", but it is called "Sao style" rather than "new (style) poetry"; similarly, later Yuefu, rhythmic poetry, quatrains, lyrics, music, etc. , compared with the earlier poetry styles such as "The Book of Songs" and "Li Sao", it could also be called "new (style) poetry" at the time of its birth. It can be seen that what people today call "new (style) poetry" or "old style poetry" are only distinguished from the style of poetry, not from the essence of poetry, that is, lyrical expression.
(8)
Responsible poems rarely have gold content in them. What the author expresses is often the meaning of others and rarely his own original ideas. As poets, we must first be ourselves - never give up observing with our own eyes every second, never give up thinking with our own minds every second, and every word comes from the bottom of our hearts. sound.
(9)
The so-called "ultimate" means trying to reach a place but never being able to reach it, so the yearning and concern are deepened.
The so-called "pain" is because of awakening, so it penetrates into the core of the poem.
The so-called "tension" refers to the combination of movement and stillness, like a spring. The tighter the pressure, the stronger the rebound force; like a full bow, although it is stationary, it contains energy and strength that can explode at any time.
The so-called "principle" means falling into the trap of slavery and losing individuality.
The so-called "elegance" should be based on the elegance of the artistic conception, regardless of the subject matter or words. Poems with elegant diction are not necessarily elegant in conception. Examples of "gold and jade on the outside but ruined on the inside" are not uncommon. For example, the first couplet of a Japanese person: "Japan rises in the east and shines on the nine continents and four countries." The words are elegant enough, but the connotation is not elegant. In the same way, "popular" is more important than "common" and "not vulgar".
(10)
Spoken poetry is not salivary poetry. Although the language of spoken poetry is popular, it is not a generic product without characteristics. It is popular but not vulgar, and focuses on refining, including refining breathing, refining rhythm, refining connection...especially refining the connotation of thoughts. For example, poet Aisong's spoken poem "Selling Organs": "When Lao Fei made this decision/I was shocked/Well, why should I sell?/This farmer guitarist/his voice was trembling as he spoke/while talking on the phone Suddenly / it was cut off / I quickly went back / and a very gentle voice said: / 'Sorry! The number you dialed is out of service.'" The living conditions of the peasant guitarist are suffocating and heart-wrenching.
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