19 17 1, Hu Shi published "Literary Improvement" in New Youth. From the perspective of literary evolution theory of "literature handed down from generation to generation", he believes that classical Chinese as a literary tool has lost its own regenerative power. In order to adapt to modern society, China literature must innovate in style. He proposed that the improvement of literature should start with "eight things": it must be meaningful, not to imitate people, to speak grammar, not to moan, to do everything possible to get rid of stereotypes, not to use classics, not to talk about confrontation, and not to avoid common sayings. Hu Shi's article was published at the right time, which is undoubtedly a masterpiece of literary revolution. In the February issue of New Youth in the same year, Chen Duxiu published "On the Literary Revolution" with harsh wording, which showed a more firm position in taking the road of literary revolution. This paper puts forward "three standards" as the goal of "literary revolution": "tear down polished aristocratic literature and establish simple and lyrical civilian literature; It is said that it is to overthrow the stale and extravagant classical literature and build a fresh and sincere realistic literature; It is said that it is necessary to overthrow the clumsy and incomprehensible mountain literature and establish a clear and popular social literature. " Chen Duxiu was critical of the old feudal literature in both content and form, and advocated "innovating literature" as a way to innovate politics and transform society.
The May 4th literary revolution took the creation of new poetry as a breakthrough, while the movement of new poetry began with the liberation of poetic forms. Liang Qichao tried to carry out substantive reform on poetry. He advocated "new artistic conception", "new sentence pattern" and "ancient style", but in the end the reform was aborted because of the actual contradiction between the three. Hu Shi clearly pointed out in the programmatic "Talking about New Poetry" that it is necessary to "overthrow the shackles of tunes and music; Irregular, informal and flat, informal and long; What topics are there and what poems to write; Do what poetry should do. " Hu Shi is undoubtedly the first vernacular poet in China. His Collection of Attempts is full of contradictions, which shows the difficult course of the transformation from traditional poetry to new poetry. Liu Bannong and Zhou Zuoren were active vernacular poets at that time, and their poems were mainly published in the important positions of the May 4th New Culture Movement, such as New Youth, New Trends, Young China People and Deng Xue.
1923 is an extremely important year for China's miniature poems. Bing Xin also published Zong Baihua's Stars, Spring Water and Cloud Poems, which aroused people's concern and interest in the "small poem style". Undoubtedly, Bing Xin is the mother of China's miniature poems. The style of short poems originated from foreign countries and was influenced by Zhou Zuoren's translation of Japanese short songs and Tagore's Birds. Besides the above two authors, there are Xu Yunuo, He Zhi and others. A short poem is an impromptu short poem, which usually consists of three or five acts. The appearance of short poems, on the one hand, shows the poet's efforts and exploration in all aspects of poetic forms, on the other hand, it also shows the poet's efforts to capture his subtle feelings and feelings from the outside. The style of short poems has changed from describing the external objective world to expressing inner feelings and feelings, and the syntax and composition tend to be simplified. Generally speaking, it is required to win by cleverness within three lines, which shows the author's temporary excitement and contains a philosophy of life or beautiful feelings.
The development history of China's poetry basically follows two clues. One, based on Confucian philosophy, emphasizes the utilitarian function of saving the world and the "taste of resentment" of poetry, which has a strong spirit of joining the WTO; One is based on Taoist philosophy, emphasizing the deepening of the poet's aesthetic experience and the development of the aesthetic realm of poetry, emphasizing inner reflection, which has a strong color of being born. However, the development of the above two clues is neither synchronous nor parallel. Zen belongs to religion and poetry belongs to art; The two are different ideologies. However, there is often a convergence between religion and art, or a formal heterogeneity and isomorphism. So the two can penetrate each other. Zen is more closely related to poetry.
Zen takes "the unity of Brahma and Me" as its world outlook theory. In his view, my heart is Buddha, Buddha is my heart, and everything in the objective world is just my fantasy. It is said that one day, the Indian monk asked everyone, is the wind moving or the wind moving? People either say that the wind is moving or that the wind is moving. Huineng said: the wind does not move, the flag does not move, and people's hearts are automatic. Huineng later became the founder of Zen. Therefore, Zen believes that since everyone has the Buddha nature-the original heart, everyone can become a Buddha as long as they can find the "original heart". The way to discover your true nature is "epiphany". "Dun" means "present" and "enlightenment" means wonderful enlightenment. "Epiphany" refers to "pointing directly at people's hearts and seeing Buddha in nature", emphasizing "directly and instantly understanding the true meaning of Buddhism in intuitive experience. If we uncover the religious cloak of Zen mysticism, we will find that "epiphany" is actually very similar to "inspiration" in artistic thinking. This is a leap-forward intuitive inspiration, neither analytical nor comprehensive, neither fragmentary nor systematic. It is a basic form of human thinking. Qian Xuesen divided human thinking into three forms, namely abstract (logical) thinking, image (intuitive) thinking and inspiration (epiphany) thinking. " "Epiphany" and inspiration in artistic creation are isomorphic.
Buddhism advocates "meditation, meditation, contemplation, and contemplation of serenity" and "simplicity is truth". The theme of poem creation is "winning with smallness and winning with cleverness". Those three lines of poems are a true portrayal of Buddhism and a symbol of non-utility.
Modern psychology finds that inspirational thinking mainly occurs in the subconscious, which is the result of the blending of consciousness and subconscious. Its occurrence is generally divided into four stages: preparation, relaxation, outbreak and verification. For the subject of artistic creation, the preparation stage is actually a long-term observation and continuous accumulation process. The longer the observation time, the richer the accumulated image forms, and finally form a certain intuitive power. The main feature of the relaxation stage is that rational thinking stops processing, but irrational thinking begins to operate, that is, conscious activities are at a standstill, while subconscious activities are gradually active. Because inspiration mainly occurs in the subconscious, it is an important prerequisite for the outbreak of inspiration. Zen enlightenment is from the realm of desire to the realm of Zen, which advocates "observing the mind in the realm", that is, objective things are often used as tips to promote the leap of association, so as to gain epiphany and achieve the realm of Buddhism and I being one and things and I forgetting each other. The realization of poetry is from objective to subjective, that is, from the observation of foreign things, to obtain the aesthetic pleasure of both things and me. Therefore, both of them did not leave the realm of desire, but also went beyond the realm of desire, both of which were based on non-utilitarian purposes and meditation, and finally both of them were purified. This is another aspect of the communication between Zen and poetry. This is essentially the transcendence of artistic thinking. Only when the aesthetic subject transcends utility can he get the greatest aesthetic pleasure in aesthetics. Fisher said in Aesthetics: "We can only see beauty at a certain distance, and distance itself can beautify everything." Swiss psychologist Bloch clearly pointed out that distance is a remarkable feature of aesthetic feeling. The epiphany of Zen monks and poets beyond utilitarianism coincides with this "psychological distance theory". All literary creation is nothing more than to calm one's mind. Zen developed their theory that "words don't mean everything" and took "not writing words" as one of its fundamental purposes. The so-called "not writing" means explaining the main idea of Zen without the help of words. In their view, every language symbol has a clear stipulation, which will fix what it expresses. Zen is rich in polysemy, which can only be understood, but not expressed. Therefore, language can not replace the true meaning of Zen, but can only be a tool to help people get the true meaning of Zen. The true meaning of Zen can only rely on the inner since the enlightenment.
"Not writing" does not mean "not writing", but transcends writing and liberates language from the bondage of logic. "unspeakable, after all, I have to say, unspeakable but expressible; We can not get caught up in the usual guesses, reasons and language, but we can also convey and express some meanings. This not only fully develops and makes use of the fuzziness, uncertainty and ambiguity of daily language, but also makes the language and preaching of Zen very subjective and arbitrary, which is completely inconsistent with daily logic and general norms. " Micro-poetry further reprocesses short poems, simplifying them, and the words are revealed before they go, and the words are not satisfactory. Professor Zhang Mao of Sichuan University once put forward the concept of "no ego": the common feature of Confucianism, Buddhism and Taoism is "no ego"; The fundamental spirit of China's classical poetry art is also "no self". Poets Qu Yuan, Wang Wei and Tao Yuanming, who represent the spirits of Confucianism, Buddhism and Taoism, show the supreme realm by artistic means-"I forget everything" and "I am one with everything". In this realm, poetry, as the externalization of the artist's mind, is not simply to express feelings in words, but the ultimate realm of cultivation in life. It is the fundamental spirit of China's miniature poetry creation to achieve this "self-less" personality realm and artistic spirit. In addition to pursuing the artistic conception of poetry, mini-poetry is also limited to taking images from objects. Mr. Zhang Wenxun made a deep and systematic discussion on the relationship between the Buddhist realm theory and the artistic conception theory in the article "Viewing the Aesthetic Psychological Factors of the Artistic Realm from the Six Buddhist Realms", which proved that there is a close relationship between them.