What is the basis of disjointed sentences in new poems?

Ancient Chinese didn't read sentences. "If you don't know how to read sentences, you don't understand" (Han Yu's Shi Shuo) means that you must first learn to break sentences when reading ancient Chinese. In schools in ancient China, sentence breaking was part of the curriculum. In other words, sentence breaking is not specialized knowledge, but it is also an integral part of learning. Today, when we travel to famous mountains and rivers, we often encounter couplets and poems carved on wood and stones, and we need appropriate sentence breaks to understand their meaning. Therefore, it is very important to break sentences, otherwise it will "confuse" the problem of line breaking from the day when modern new poetry came into being. Someone solved it, making the work icing on the cake and becoming a good product; Unfortunately, some people can't solve it well or don't know how to solve it at all, but let the original good works continue to be marten. Therefore, there is an irony that modern new poetry is nothing more than a branch word or enter key. The practical problem lies in the branch sentence. Then, in the creation of modern new poetry, is there a clear basis for the branch of poetry? Yes, what is it? I haven't seen the article about the discussion of sentence breaks in new poems. However, in the process of reading new poems, it is obvious that many poets' works have a good texture. But it is a pity that people always feel uncomfortable when reading. For poets who have been writing new poems for many years, sentence breaking is not a problem. Naturally, according to their own emotions, internal logic, Chinese knowledge, reference and innovation, they will divide a poem into several poems in the process of creation and handle them properly. Of course, this requires modern poetry learning and writing skills. For most people, especially the beginners of new poetry creation, sentence breaking is often a stumbling block to their creative talent. This is a very good poem, but unfortunately, because the branches are not suitable. Some people even deliberately break a complete poem into words or phrases because they don't understand the importance of sentence breaking, which makes people read one foot deep and one foot shallow at night, or just like walking on a muddy country road, which gives people the feeling that it is difficult to get to the sky. Therefore, it is necessary to emphasize the basic basis of sentence breaking, so as to facilitate the poet's creation and readers' reading, and thus improve the quality of modern new poetry creation. First, the charm in poetry is the basis of line-by-line sentence-breaking. Today, the content and skills of poetry have made great progress. It is no exaggeration to say that this is beyond the imagination and reach of predecessors. The excavation of Chinese characters by contemporary poets endows Chinese with unique and rich expressive force, which other languages can't do. This unique expressive force is first practiced and embodied in new poetry. For mature and excellent poets, poetry is the experimental field of Chinese. Driven by internal emotional thinking, language and writing have become the pawns of poets. For such an excellent poet, there is no problem of broken lines and sentences. With the help of semantics and language sense, according to the Zhang Chi priority principle of their emotional thinking and poetic logic, they naturally formed a complete poetic style by writing with the help of God. Of course, such creation is related to their literary accomplishment, poetic accomplishment and ability to master language. An excellent poem is complete, and its charm is manifold. Poetry, music, painting, film and television, sculpture, architecture, the poet's personality and other artistic elements will be implied in poetry. The beauty of humanity, phonology, thinking logic and form expressed by poetry will be enjoyed and appreciated in reading, which is the unique artistic charm of poetry. These artistic elements and features and the aesthetic presentation of poetry are all constructed under the guidance of poetic rhyme. Therefore, the verve of poetry is both the essence and the external expression of poetry, and verve is the unique comprehensive beauty that distinguishes poetry from other styles. Second, reading ability should be taken into account when breaking sentences. For those who have the basic knowledge of new poetry, poetry is a style that needs to be understood and imagined. It can't tell you the cause and effect of character events as clearly as prose and novels. It is a highly refined and processed reproduction of these images, and the omission and mapping are exactly what readers need to understand and imagine to supplement. Therefore, the jumping, symbolism, orientation and turning point of poetry constitute the rolling picture of poetry. Poetry creators should consciously arrange words and sentence patterns in these aspects, so that the expression of emotional thinking presents a sense of hierarchy, richness and three-dimensional significance. Therefore, it can better guide readers to enter the artistic space created by poets for extensive and in-depth aesthetic sightseeing and perception, so as to enjoy and cultivate beauty. I once discussed this issue with the poet Xiang Lianzi. Many poets' poems are sparkling, but they just can't enter the emotional world of readers. I think it has something to do with the way poetry is expressed, and it has something to do with the line-by-line sentence breaking of poetry. Line-by-line sentences in poetry, seemingly formal, are actually poetic.