The representatives of Crescent School are Guo Moruo, Wen Yiduo, Xu Zhimo and Zhu Xiang. Their works have all contributed to modern new poetry. Guo Moruo's Goddess broke through the stereotypes of' dharma',' absolute',' four sentences' and' eight sentences', so it burst its banks for the flood, and its emotions were like wild horses, eagerly expressing its patriotism and heart. It has made a good start for modern new poetry in both form and content. Wen Yiduo spoke highly of Guo Moruo's Goddess, but at the same time criticized it as "too Europeanized" (the local color of the goddess). Wen Yiduo pointed out that new poetry should be "the son of peace after the marriage of Chinese and western art" (the local color of the goddess) in view of the prevailing ideological trend of "not knowing Chinese culture and blindly following Europe" and the unrestrained and absolutely free poetry tide. The characteristic of this kind of "Xin Xin Er" is that he put forward the beauty of music (syllables), painting (words) and architecture (symmetrical sections and uniform sentences) in the Metric of Poetry published in 1926, and attached importance to the form, format, tone, level and rhyme of poetry. Wen Yiduo put forward a relatively complete theory of metrical new poetry for the first time in the history of China's new poetry, and Xu Zhimo spared no effort to make a beneficial exploration with colleagues of the Crescent School. Compared with Wen Yiduo, Xu Zhimo pays special attention to the beauty of syllables in poetry, especially to the loudness and harmony of rhythm. He paid less attention to "the uniformity of sentences" and paid more attention to "the symmetry of sections", that is, he made the sentences of sections uneven, but pursued the symmetry between sections. This is reflected in his famous works such as Farewell to Cambridge and Accidental-as is known to all, "I left quietly, just as I came gently; I gently waved my sleeve and didn't take away a cloud "is the embodiment of this informal and rhythmic beauty." "This form of metrical poetry is a supplement to the formal law of new metrical poetry proposed by Wen Yiduo. Xu Zhimo thinks that syllables are the most important factor in the beauty of poetry, and the new metrical poetry has gained new life in art. Besides Wen Yiduo and Xu Zhimo, Zhu Xiang has also made contributions to the exploration of the form of new poetry. His ideas are basically consistent with Wen Yiduo's so-called "three beauties". He believes that "poetry without music is like flowers without fragrance and beauty without eyes" (comment on Xu Zhimo's poems). The beauty of music depends on syllables, which refer to the internal and overall artistic rhythm of poetry. Music beauty also depends on phonology, which is an artistic element of active rhythm. He thinks that writing poetry cannot "decline the help of phonology" (comment on Xu Zhimo's poems). So pay attention to the level and rhythm of poetry. His new metrical poems are the crystallization of his poetic theory. For example, singing a sad song for real life, Collection of Grass Mang, is no longer limited to eulogizing nature, but pays more attention to real life, sympathizes with people's sufferings, exposes social ugliness, embodies patriotism and humanitarianism, and has a sense of life in painful disillusionment, Shimen Collection. After the failure of the Great Revolution, the poet felt confused and lost. The enthusiasm for paying attention to reality tends to be weak, and he exudes a deep sense of life in the painful disillusionment. The keynote of Zhu Xiang's poetry is romanticism, but it also contains symbolism. Formally, it is classicism and aestheticism. He is good at integrating Chinese and foreign poetic arts without losing the essence of national spirit, and has made positive contributions to the nationalization of new poetry.