1, different concepts.
The concept of old-style poetry;
In modern times, the concept of old-style poetry is mainly to distinguish it from modern new poetry, which contains two meanings.
First, before the appearance of new poetry, the meaning of ci fu, ancient customs, laws and rhymes since the Book of Songs was similar to that of "classical poetry". Second, it refers to the poetry works created by modern people in the form of classical poetry after the birth of new poetry, which mainly expresses the life and feelings of modern people. From 1950s to 1960s, people from all walks of life also wrote old-style poems.
The concept of new poetry;
Qi, Liang and Chen are the periods of the formation and development of new style poetry. This new style poem was originally formed in the period of Qi Yong in the Southern Dynasties, so it is also called "Yongming Style", and its representative poet is Xie Tiao. The appearance of Yongming style marked a great progress in China's classical poetry, injected a new breath into the poetry circle at that time, and established a new aesthetic style.
Their rich artistic experience also laid the foundation for the maturity of regular poetry and the prosperity of Tang poetry. New poetry is a form of transition from ancient poetry to formal poetry. The representative writers of new poetry are Xie Tiao and Shen Yue.
2. Different characteristics
The characteristics of new poetry:
First, the emphasis on melody and phonology has been quite elegant, mainly manifested in the fact that most people rhyme and rhyme very strictly. As for rhyme, many of them are close to the Tang Dynasty.
Second, the length of the poem has been greatly shortened, and the sentence patterns have gradually been finalized, mainly in five words and four sentences, five words and eight sentences, and some in five words and ten sentences.
Third, writing skills, pay attention to parallelism and antithesis, a large number of French sentences have appeared, and some allusions are naturally integrated into poetry.
Fourthly, get rid of the rigid atmosphere of Yuanjia style poetry in Liu and Song Dynasties and pursue the poetic style of circular beauty and easy to understand.
Fifth, emphasize the integrity of the beginning and end of the poem, emphasize the ingenious conception, pursue the artistic conception of the poem, and organically combine the scenery with lyric.
Characteristics of old-style poems:
There is a difference between China's ancient poetry and modern poetry. There are four words, five words, six words, seven words and miscellaneous words in ancient poetry; Modern poetry, also known as "modern poetry", includes metrical poems and quatrains. And the poems with new ideas in form are all new poems, such as Mao Zedong's "Qinyuanchun Changsha".
At present, in the creation of old-style poems, some strictly follow the original requirements of classical poems in terms of meter, while others do not stick to traditional meter. Although new poetry has become the main form of modern poetry in China, the creation of old-style poetry has not stopped, and the creators of old-style poetry have made many attempts to express real life in this way.
3. Different styles
Compared with the old-style poems, the new-style poems are more free, use vernacular Chinese, break the shackles of metrical rules, and have no rhyme or punctuation.
Second, the requirements of old-style poetry
The meter of old-style poetry is very strict, and the following three elements must be met:?
1, the rhyme of the poem:
Rhyme is the basic condition of the musical beauty of poetry and the most important part of poetry. Both ancient poems and modern poems require rhyme. Without rhyme, it can't be a poem. It can be said that this is an important sign that poetry is different from other literary works. ?
Rhyme: two or more words with the same or similar vowels are arranged in a certain position in a poem (the antithesis of each couplet is the end of a double sentence), thus producing a simultaneous effect and the beauty of the sound ring. The purpose of rhyming is to increase the harmonious beauty of poetry by rhyming, which makes people read smoothly, sound pleasant and remember easily.
2, the temperament of poetry:
Old-style poems, especially modern-style words, attach great importance to the adhesion of flat tones and the coordination of sound and rhyme. The metrical pattern of poetry is mainly the flat and flat format and law.
3. The antithesis of poetry?
The antithesis between poetry and words is called duality. Its basic feature is to juxtapose similar or opposing concepts, making it look like an ancient guard of honor, opposing each other, hence the dual name. ?
Paying attention to duality is one of the metrical rules that metrical poetry must follow, and it is a remarkable feature that distinguishes China's poetry from western poetry. It can make syntax unchanged, avoid monotony, increase the charm of poetry, and has distinctive national characteristics. ?
Extended data:
The main schools of new poetry:
Lake Poetry School, named after the poets who gathered in Xizi Lake, is the earliest school of new poetry in China. Love is the main content of the lake poet's singing. Representative poets are Feng Xuefeng, Wang Jingzhi, Ying Xiuren and Pan Mohua. Representative works: Feng Xuefeng's Yi Zai, Flower Girl, Wang Jingzhi's Wind of Emblem, Ying Xiuren's Bud, Pan Mohua's Leaving Home, etc.
Crescent school-advocating aesthetic writing for art's sake. Representative poets are Xu Zhimo, Fang Lingru, Chen, Wen Yiduo and Lin. Representative works: Shiannala by Xu Zhimo, Farewell to Cambridge by Wen Yiduo, Dead Water by Zhu Xiang, Silent Night, etc.
Symbolism is a branch of early modern poetry, which has the characteristics of independent symbol. Representative poets are Wang, Mu, Feng Naichao, Hu Yepin and Peng Zi. Representative works: Beside Dante's Tomb by Wang, Abandoned Wife by Wang, My Bear, etc.
Modernism-this school of poetry has made great achievements and has far-reaching influence on later generations. They adhere to the concept of "pure poetry", advocate drawing lessons from western modern artistic techniques and attach importance to the thinking and emotion of poetry, but do not pay attention to the musicality and external metrical form of poetry.
Representative poets are Bian, Dai Wangshu, He Qifang, Fei Ming, Xu Chi, Jin Kemu, Shi Zhecun and Louis. Representative works: Bian's Broken Chapters, Dai Wangshu's Rain Lane, He Qifang's Prophecy, Garland, Fei Ming's December 19th Night, etc.
July School-most of its poets have experienced ups and downs in their lives, been imprisoned by political injustice for decades, and have been able to "blossom like flowers" in the new era. It is a poetic school that has spanned three eras. Representative poets include Han Niu, Ai Qing, Luo Luo, Ceng Zhuo, Lv Yuan, Peng Yanjiao, Zou Difan and Hu Feng.
Representative works: Han Niu's My Home, Half a Tree, South China Tiger, Ai Qing's Dayan River-My Nanny, Snowflakes Falling on the Land of China, Reef, Flowers and Fruits by Zou Difan, Going North, Railway and Fire by Ceng Zhuo, Trees on the Cliff, and Hu Feng's.
Nine Leaves School-as the name implies, it is composed of nine poets. They tried to integrate the language styles of China's classical poetry and western modern poetry, pursued realism, symbolism and philosophy of poetry, and paid attention to the poet's inner feelings. Representative poets include Xin Di, Chen, Du Fu, Tang Qi, Mu Dan and Yuan Kejia. Representative works: Pearl and Pearl Seeker by Chen, Praise by Mu Dan, etc.
Realistic Romanticism-the name is a bit far-fetched, perhaps because of Mao Laoren's writing principle of "combining revolutionary realism with revolutionary romanticism". From the founding of the People's Republic of China to the end of 1970s, we followed an autocratic literary road, that is, the so-called obedience literature or revolutionary literature. In the historical span of nearly 30 years, the pattern of poetry is surprisingly unified.
Representative poets are Guo Xiaochuan, Wen Jie, He Jingzhi, Zhang Zhimin, Tian Tian, Li Ying, Li Ji and Yan Chen. Representative works: Guo Xiaochuan's Sugarcane Forest, Qingshazhang, He Jingzhi's Guilin Landscape Song, Li Ying's Restaurant, Lu Xun and Wen Jie's Under the Apple Tree, Li Ji's Wang Gui and Li Xiangxiang, etc.
In addition, there are early schools of realism (Feng Zhi, Bing Xin, Liu Bannong, Hu Shi, etc. ), early romantics (Guo Moruo, Tian Han, etc. ), Chinese Poetry Association (Ludi, Wang Yaping, Pu Feng, etc. ), Shanxi-Chahar-Hebei School (Tian,) and so on. ), etc. These schools have little influence or have not formed a relatively stable one.