The poems of the first generation of poets have made a lot of useful attempts in introducing foreign forms of poetry, breaking the old tradition of poetry, expressing personal will to survive, inner conflicts, opposing the dark forces and lashing the society with new languages and new ways of poetry. But in essence and metaphysical sense, the limitations of poetry in this period are also enormous. In terms of poetic style, the poets in this period mainly devoted themselves to the introduction, digestion, reference and imitation of foreign poetic forms. Judging from the general spiritual value orientation of his poems, China's poems in this period almost all expressed some distant and ancient regional cultural ideals and narrow nationalist consciousness in an individual context and a collective context characterized by power discourse, or expressed a one-dimensional self-spiritual feeling and meaningless struggle, accusation and resistance against individual life in a highly dark and authoritarian culture.
2. The second generation of poetry groups: "misty poetry groups"
The second generation of poetry groups refers to those poets who rose from the late Cultural Revolution to the mid-1980s. These poets are widely and persistently influenced by Taiwan Province's poems and the complex modernist cultural thoughts and literary schools in the West (symbolism, expressionism, surrealism, Dadaism, cubism, imagism, magical realism, aestheticism, existentialism, formalism, neo-romanticism, absurdity, futurism, post-modernism, etc.). Indeed, their poems have brought a strong and lasting impact on the lifeless and unremarkable poems of China, but we should also realize that their thinking is only limited to phenomena and surfaces, and they are only different from their predecessors (the first generation of poetry groups) in quantity, and have not formed an essential transcendence. The changes brought by this new literary movement (or cultural trend of thought) to China's poetry are not so much reflected in the grand and profound spiritual connotation constructed by poetry, but more reflected in the further absorption, reference and application of western modernist poetry expression methods by the second generation of poetry groups. New poetic techniques have brought new aesthetic styles and enriched the artistic expression of poetry. At that time, these heroic poems of individuals (nations) based on the context of "individual speech" and "collective speech" brought great shock to contemporary poetry circles! It was really an exciting era, and the wasteland state of poetry and the vacuum era of culture seemed to be completely destroyed. Human dignity, the meaning of life and the value of individual life seem to have been recognized and embodied, and the long and profound cultural tradition seems to have been revived and continued ... The silence, justice and conscience of an era, through the angry heroic harmony of the North Islander mixed with Sisyphus spirit and Kuafu complex, gave an ancient nation its first enlightenment and spiritual baptism, which was sometimes numb, sometimes crazy, sometimes silent, sometimes noisy, sometimes weak and sometimes tyrannical.
Third, transcendence and singing: poetic speech in the "overall context" of human beings
1. Vanguard Poets and Their Living Conditions
The third generation poetry group, the so-called avant-garde poetry group (? ), from the time point of view, refers to a generation of young poets who have been active in poetry since the mid-1980s (marked by the exhibition of Modern Poetry jointly organized by Shenzhen Youth Daily and Poetry Magazine at the end of 1986). Deep suspicion of history and culture, metaphysical thinking and ultimate questioning are one of the most essential characteristics of the poetic spirit of this generation of poets. In the specific context of China's existence, fate forced them to bear mental pressure from at least four aspects:
First, it is based on the rational power that stifles people's perceptual life and high material civilization-the power of holism;
Second, nationalism and nationalist political model based on profound historical traditions have evacuated individual life, deprived and dispelled the sense of existence;
Third, the metaphysical way of life, such as materialistic civilization, which is accelerating in the morbid modern civilization, fundamentally destroys and destroys people's spiritual world;
Fourth, the confusion of poetry itself and the great mental pressure to find a breakthrough opportunity.
The third generation of poets used symbolism, black humor, imagism and other methods to combine objects and images mechanically, making poetry confusing, confusing, difficult to understand and even unimaginable, with a strong experimental atmosphere.
Different from previous generations, the aesthetic principles of the third generation poets are: modern spoken language and sense of language, daily life and cold lyricism.
The so-called middle generation: a newly created concept refers to a poet who was born in the 1960s, was unknown in the 1980s and became famous in the 1990s.
In the 1970s, there were a group of outstanding poets, but they didn't agree to be analyzed and named. They were randomly classified ... such as Huang Lihai, Hu Xudong, fishing by the river, not Yang Xiaoyun, etc.