The connection between schools of poetry

Modern poetry school is a poetry school that consciously pursues the artistic beauty of "pure poetry" under the agitation of liberal literary thoughts. Named after Modern magazine founded by Shi Zhecun in1May, 932. This school of poetry not only benefited from the influence of the concept of "pure poetry" in French symbolic poetry, but also came down in one continuous line with the pursuit of poetic beauty in the early symbolic poetry school represented by Li Jinfa in the 1920s. Judging from the evolution of the internal aesthetic mechanism of poetry, the construction of poetic beauty of modern poetry school is the inheritance and transcendence of the symbolic character of early symbolic poetry school. They are good at transcending the surface world of the object and conveying various subtle personal feelings with the help of perceptual counterparts and suggestive symbols in the process of subject-object integration and two-way assimilation.

From the content point of view, modernist poets follow the creative style of western modernist literature, trying to fully express the poet's inner feelings rather than the real world. The theme of poetry comes from the basic spirit of western modernist literature: hesitation and loss. This theme is fully expressed in Dai Wangshu's poems.

In terms of poetic techniques, modernism inherited the emphasis of early symbolism on "pure poetry", "appropriateness" and "suggestion", and borrowed from French symbolism. However, the modern school of poetry excluded the blind copying of western symbolism poetry images, and integrated western symbolism with China classical poetry images, which not only made the poetry images have distinct China characteristics, but also organically combined relatively independent image units with the subject's life perception, forming the overall image beauty of poetry.

The Crescent Poetry School demonstrated their aesthetic pursuit with their creative practice. Comparatively speaking, it is weak in theory. However, the new moon still has its obvious theoretical discussion. As far as the early stage is concerned, on the one hand, it is the advocacy of metrical theory represented by Wen Yiduo and Rao Mengkan, on the other hand, it is the foreshadowing of generalized literary theory represented by Xu Zhimo and Liang Shiqiu. The change of the concept of poetic beauty before and after the formation of crescent poets is also concentrated in these two aspects.