Analysis:
In the late 1980s, a group of poets appeared, represented by misty poems. The representatives are:
Huang Xiang, forefinger (Guo Lusheng), Munk, Beidao, He Jiang, Duoduo, Yang Lian, Gu Cheng, Yan Li, Shu Ting, Luo Gengye, etc.
It is famous for writing popular poems and private novels. In recent years, he has made some progress in novel creation and is called "the new generation writer".
The third generation of poets used symbolism, black humor, imagism and other methods to combine objects and images mechanically, which made poetry confusing, incomprehensible and even unimaginable. "A 3,000-year-old skeleton/smiling from the sharp corner of the hillside/grasping the walking sign/the sunset bleeding in the hole//blood drops falling into the soil/forming a gully/voice trembling." This is a passage from Monroe's Twilight Rift, and poems like this almost cover the sky of the poetry of the third generation of poets.
After the mid-1980s, the once-noisy misty poetry gradually quieted down, and its ideological connotation and artistic form gradually matured, that is, its creative style, such as leaping structure, novel images and spiritual core of paying attention to reality, gradually became a new tradition. In this case, some young people who grew up under the influence of misty poetry began to be dissatisfied with its stagnation and limitation, so they decided to explore and create a new way of poetry. Their poems with strong experimental flavor are really different from their predecessors, so according to the time when this group appeared, the critics called them "the third generation poets" to distinguish them from the first generation poets with strong political ideology after the founding of the People's Republic of China, such as Gong Liu and Bai Hua. The second generation of hazy poets who publicize their individuality but pay attention to society, such as Shu Ting and Bei Dao. Of course, since the mid-1980s, criticism has been as diverse as creation, so there are various names for this school of poetry, such as "post-new poetry tide", "avant-garde", "new generation", "later poetry school" and "post-obscure poetry school", and most of them are named with reference to the obscure poetry school.
Aesthetic principles of the third generation poets;
The "third generation" poets marked by "China Modern Poetry Group Exhibition" in June of 1986 and June of 10 have many similarities in age experience. Most of them were born around the Cultural Revolution, mainly college students, graduate students and some young workers who love literature. When they enter adulthood and really face the society, they have already faced an era of commercialization. The traditional values education received in primary and secondary schools seems to be easily influenced by the new laws of commodity economy. The world is colorful and messy at the same time, and people's souls are under unprecedented impact and temptation. Young people's shaky traditional world outlook began to collapse, and they began to re-examine all the traditions they accepted in the past with suspicion, including all the traditions taught by their elders in books. Therefore, in their poems, traditional heroism and patriotism are no longer in the leading position of eulogizing, and civilians and their lives come into their sight. They show the daily life and feelings of all sentient beings in plain language to readers, and express anti-sublime, anti-hero, anti-rational and anti-cultural contents in them. These poems are very different from traditional poems, including obscure poems that flourished not long ago, both in content and language form. Therefore, many people can't help but question his poems, thinking that their style is not high, even beyond the scope of poetry and even literature. This statement just adds a new essential connotation to the creation of the third generation poets, that is, "anti-poetry".
The concern of the third generation of poets for the common people has its social and historical background. In the mid-1980s, China entered the stage of free competition of capitalism. At this time, the chaotic life makes everyone nervous but has vague admiration for the scenery, opportunities begin to increase, political shadows begin to gradually retreat from the lives of ordinary people, and most people seem to be able to compete as civilians on an equal footing. Civilians have become a new huge group with subjective consciousness, and the third generation of poets live in it, and they have the identity of civilians. Therefore, they are determined to express this most ordinary life. They claim to "live like citizens and think like God", and strive to make poetry secularized, civilian and close to the most ordinary life in their creation. In this pursuit, their creation presents a unique aesthetic style.
First of all, it is the repeated expression of "anti-hero" life experience in their poems.
The so-called "anti-hero" refers to the most ordinary life in life Many poets of the third generation, starting from human survival instinct, appreciate and reflect all the contents of secular life in their poems, such as love and hate, life and death, bitterness and joy, and even drinking and pecking rice, sleeping and going to the toilet.
The representative of this kind of work is the space shuttle Wang Xiaolong Memorial Challenger. This tragic scene, which once attracted the attention of the whole world, presents an absurd side in the poet's pen:
What has this moment changed?
This strange-looking hybrid suddenly disappeared.
Under the cover of thick smoke ...
Undigested breakfast sandwich
The sky is shining brightly.
This description may be true, but it completely absurd the heroic image of the female teacher in the world press, thus deconstructing the existence of heroes.
If Wang Xiaolong's works are deliberately contradictory to heroes, Yu Jian's No.6 Shangyi Street is completely immersed in the description of ordinary life. This long poem reveals the life fragments of a group of young people who often meet in "No.6 Shangyi Street" in a trivial way:
No.6 Shangyi Street
French yellow house
Lao Wu's trousers are hung on the second floor.
Shout your legs and drill your head out with glasses.
The big toilet next door
There is a long queue every morning.
……
The poem says that these friends often spend the night in Lao Wu's house, but at the end of the poem, everyone goes their separate ways:
Everyone finally separated.
The remaining floor is empty.
Like an old record that doesn't play anymore. ...
Long poems are completely colloquial expressions, which are trivial and fragmentary, but under close reading, they have a soothing and sad taste. And this ending gives people a sense of desolation that life is dull and impermanent.
Secondly, it is the anti-sublime cold lyricism deliberately pursued in the works of the third generation of poets.
The third generation poets are used to replacing the obscure poets' idealistic heroism with ordinary people's plain civilian consciousness, showing a kind of almost cynical black humor. For example, in About the Wild Goose Pagoda, people are indifferent to the sight of climbing the pagoda.
Thirdly, anti-cultural modern spoken language and language sense can be seen everywhere in their works.
The application of spoken vocabulary and language sense can be seen in the works such as No.6 Shangyi Street I just quoted. As for the theme of "anti-culture", it can be represented by Zhang Feng's short poem Compendium of Materia Medica:
One or two old withered vines in Ma Zhiyuan.
San Qian Li Shangyin's Bitter Cicada
Half a spoonful of Li Yu decoction in spring water
Drink up the spring water.
They all suffered from depression in China.
The short poems borrowed many famous images from China's classical culture, deconstructed its carefree charm, and expressed dissatisfaction with the lack of femininity and masculinity in China culture.
Generally speaking, the creation of the third generation of poets has undoubtedly enriched the artistic expression of new poetry and stepped into some forbidden areas in the field of poetry, making poetry an artistic form closer to life and people's perceptual life. At the same time, every so-called third-generation poet has his own creative personality and is not unified under the banner of a certain theory. They have their own trajectory, which is still changing. As for the final decision, it is still too early. The summary here is only a very incomplete statement.
Related articles: the development of modern poetry and the definition of the third generation of poets
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