What are the main characteristics of the poetry creation of crescent poets in the first ten years of New Poetry School? What contribution has it made to the development of new poetry?

After Goddess, there is an urgent need to establish new poetic forms and norms of poetic beauty, as well as a new poetic paradigm with the unity of form and content and the dialectical unity of "freedom-norms". The Crescent School represented by Wen Yiduo, Xu Zhimo and Zhu Xiang undertook this historical mission. They put forward the aesthetic principle of "rational control of emotions", emphasizing that poetry creation should express their emotions directly and objectively, strive to achieve "harmony" and "unity", replace the rigid metrical norms of classical poetry with modern metrical forms, and pursue the unity of architectural beauty, painting beauty and music beauty. More importantly, the crescent poets not only established new poetic norms in theory, but also actively explored and practiced in poetry creation. Wen Yiduo's poetry collections "Red Candle" and "Dead Water" show the poet's strong national pride and pride in the face of imperialist oppression, as well as his pain, disappointment, anxiety and uneasiness in the face of dark and corrupt social reality, in which the poet's ardent patriotic heart beats. Many of his poems, such as Still Water and Discovery, are trying their best to realize their own aesthetic ideas, such as tempering. Xu Zhimo's poems are not as concise and profound as Wen Yiduo's, but they are well-known in the literary world for their gentle, frank, pure and lingering lyric style. His representative works include Joy of Snowflakes, Singing of Leaves, In the Mountains, Nora in Poetry, Farewell to Cambridge, Accidental, Haiyun and so on. , can be kept to the extreme in the singing of "A Warm Heart", whether it is to capture the instant feelings, express the feelings inspired by the passionate moment, or to stagnate for a long time and meditate calmly. The novelty and vividness of images, the freshness and naturalness of artistic conception and the harmonious combination of musical rhythms make Xu's poems have incomparable aesthetic taste, which is a great expansion of the creation of new poems since the May 4th Movement.

Other major poets of the Crescent School, such as Zhu Xiang, Chen, Liu and Rao Mengkan. He has also made some contributions to the exploration of the art of poetry, especially Zhu Xiang's exploration of the form of new poetry is fruitful. He carefully explored the law of "writing" with the Collection of Grass Mang, and carefully arranged the rhyme according to the content and artistic conception of the poem. His famous works "Lotus Picking Song" and "Pipa Music" can be regarded as successful models. His long narrative poem Mong Kok absorbed the nutrients of folk songs, and the arrangement of poetic rhyme was also excellent.

When crescent poets tried to establish new artistic forms of poetry and explore the creation of new metrical poems, another school of poetry with great significance-symbolism appeared in the poetry world. The thought of "representative" influenced the creative society including Mu, Feng Naichao and others. They criticized the early vernacular poems for being too "clear and white" and advocated "thinking with poetic thinking methods and expressing with poetic writing methods". This is a leap in the concept of new poetry on the basis of summarizing the historical experience of the development of new poetry in the early stage. Under the influence of French symbolism, China symbolism draws lessons from Baudelaire's "correspondence" theory, emphasizes the ambiguity, similarity and fuzziness of poetry concretization, pursues "the strangeness of conceptual connection" with hints and metaphors as the main means, omits the association process between images in the conception, and directly transforms the most vivid sensory images into image group. This indicates that the creators of new poetry have a deeper grasp and understanding of the artistic characteristics of poetry. Although the initial practice of symbolism poetry, whether it is Slight Rain, Diners and Time flies, Mu's Journey of Mind, and Feng Naichao's Red, has some shortcomings, such as narrow feelings, Europeanization of syntax, difficulty in understanding and negative thoughts, it is inevitable to stumble in the middle of poetry development. Undoubtedly, the artistic exploration of symbolism is of great significance and enlightenment to the development of China's new poetry and even the expansion of the whole modern literary creation method. Modern poetry school in 1930s, July poetry school and kuya poetry school in 1940s all benefited directly from the exploration of early symbolic poetry school.

Lake poets' love poems are also quite distinctive. 1922, Wang Jingzhi, Ying Xiuren and Pan Mohua published Lakeside Collection, followed by Wang Jingzhi's Hui Feng and Spring Poems and Songs. In their works, pure and lingering love and fresh and beautiful nature all have distinct youthful colors. The innocent and cheerful self-lyrical hero image in the poem not only embodies the poet's personality, but also blends into the spirit of the times at that time. Influenced by Japanese short songs, haiku and Tagore's Birds, the short poems of Bing Xin, Zong Baihua, Xu Yunuo and He Zhi were all the rage. Among them, Bing Xin's two episodes "Spring in the Stars" and Zong Baihua's "Walking Clouds" have great influence. Feng Zhi is another important lyric poet in modern poetry. He is a member of Asakusa-Shenchong Society and later appeared in lake poets. His poems are in the form of semi-metrical poems, which have a neat and restrained beauty. Its poems are as clear and simple as simplicity, which contains passion and philosophy. In the 1920s, because of the episode "Song of Yesterday", he was appraised as "the most outstanding lyric poet in China" by Lu Xun. In the 1940s, he further explored the art of poetry and wrote more groundbreaking sonnets.