Ai Qing, an outstanding national poet, is called "the poet who plays the reed flute", and the poet himself claims that this reed flute was brought back from "colorful Europa". From Ai Qing's poems, we can clearly see the "traces" of modern western poets Valhallen and Baudelaire. It shows that Ai Qing's poetry creation has been integrated into the trend of world poetry from the beginning, which also makes his later creation more contemporary and less limited.
During his early years studying in France, Ai Qing read a lot of philosophy and literary poems, especially interested in western modernism, such as Baudelaire, Ranbo, Russian poets Mayakovski and Ye Saining. Therefore, in the art of poetry, he absorbed the new elements of symbolic painting and symbolic poetry on the basis of realism and formed his own unique style.
Ai Qing was also one of the earliest poets who went to the world. The starting point of his poems is related to our troubled country. His poems pay attention to the masses, dare to break through, pay attention to social utility and embody the characteristics of realism, which is different from the "pure" self-expression of the Crescent School at that time, which pays attention to expression, art for art's sake and super-utility. In fact, the so-called super-utilitarian "pure" self-expression is impossible. Utilitarianism is sometimes unconscious and beyond the control of the creator. What's more, under the historical background at that time, super-utilitarianism was also anti-era. Here we can see that Ai Qing's transcendence and grand view made this second wave land strongly. At the same time, Ai Qing also absorbed its characteristics. Wen Yiduo, a crescent school in the early stage, put forward the idea of "three beauties", and the modernist school surpassed the metrical style of the crescent school in form and created a free verse style with prose beauty. At this point, Ai Qing inherited it well, further liberated Ai Qing's poetry creation and made his poetry reach another height.
The horn of the national liberation war sounded, and Ai Qing was summoned by the times and the party. She changed from a tramp of the times to a trumpeter of the times and found her place in the struggle. Perhaps Ai Qing's poems are too utilitarian, but the intersection of Ai Qing's poems with world trends, national traditions and personal temperament obviously does not belong to him, which shows the inevitable historical trend of China's new poetry in the past 20 years. Ai Qing is an important figure who rationally conforms to the times and promotes its development.
Ai Qing's poems are also melancholy. Melancholy is the strongest anger, but it is mixed with some sense of powerlessness. None of us can avoid the reality that "melancholy" is indeed a major feature of Ai Qing's poetry, which has something to do with the national reality, but I think it is mainly a limitation of Ai Qing. He can't get rid of the influence of western symbolism, impressionism, personal circumstances and western literary thoughts.
Ai Qing's poems completed the task of "synthesis" in the history of China's new poetry development, insisted on developing China's "fighting tradition of being faithful to reality", abandoned "childish cry", critically absorbed foreign culture, enriched the art of new poetry, influenced a generation, and became the most influential representative poet in the third decade of new poetry.