The attitude of seeking truth and being pragmatic. The spirit of Pound is first embodied in the attitude of seeking truth and being pragmatic in art.. Pound asked to be a "serious artist" with a pragmatic attitude. Although he has made great achievements in poetry theory, he thinks that creation is more important than theory, and the object of literature is people. In poetry creation, poets should accurately judge people's true wishes, oppose distorted "immoral" fiction, and admire serious artists and "the most accurate art that can bear witness to the truth". He also pays great attention to skills, but he pays attention to skills in order to better express sincere feelings. Therefore, he believes that "skill is the test of sincere feelings." In his poems, he advocates accurately conveying modern true feelings, strongly attacking the evils of capitalism, calling for peace and opposing war. His ecstasy is the poet's true feelings about life and love. Hugh Selwin moberly, his early masterpiece, truly condensed the modern civilization and history of the West into a limited number of poems, which highly concentrated the poet's profound thinking on the times and culture. As "an important milestone of modernist poetry", The Chapter of Poetry adopts archival layout and musical structure to review and reflect on human history and world civilization. Seeking truth and being pragmatic has also become the basic creative attitude of China poets. The poet Ai Qing insisted that the poet should tell the truth again and again. Faced with the ever-changing reality, a poet must speak his mind. Poetry should be written through one's own heart and checked by one's own conscience. "Poets should think with the people about the sharp questions raised by the contemporary era and answer them with the people". As early as the forties and fifties of the 2th century, Ai Qing insisted on "freedom of writing" and "independent creation" again and again, and was severely hit by Yan 'an literary rectification and anti-rightist movement. He insisted on the justice and truth of poetry with the belief that he had not regretted his death. Many China poets persist in singing for the times and the people with a pragmatic attitude when symbolism haunts the world poetry world and they are confined to the ivory tower of artistic skills in poetry creation. Wen Yiduo, a poet, returned from studying in a foreign country and faced with the devastated reality, sang a desperate song with Dead Water. Yin Fu and other left-wing poets kept pace with the times, singing about labor, attacking darkness and awakening people. In July, poets advocated breaking into reality and embracing reality, while Jiuye poets advocated the unity of the truth of individuality and the truth of art. After a generation of "returning" poets had suffered enough from falsehood, they also expressed their desire to break with the literature and art of "hiding and cheating". All these reflect China poets' different understanding of the "truth" and "reality" of Pound's spirit. The spiritual reality society is constantly changing, and poetry as a reflection of reality is constantly changing and innovating. When Pound arrived in Europe, he decided to "innovate it" in the face of the lifeless situation of European literary world. Pound regards "being new, being new, being new" in The Analects of Confucius as his life coordinate and the driving force for the innovative development of poetry. He pointed out: "No good poem was written in the way of 2 years ago, because writing in this way fully shows that the author thinks from books, traditions and stale themes, not from life." Therefore, he named one of his works on poetry theory "make it new". On the theme of poetry, he tried to avoid the cliche and sentimentality of Victorian poetry and advocated accuracy, objectivity and substance in words. In the concept of poetry creation, he innovated the venting and shouting of romantic poets and introduced the concept of image to think and create. These became his important contributions to British and American poetry. Influenced by Pound's spirit of "growing day by day", the spirit of "May 4th" that destroys everything and creates everything has become the main theme of the times. Hu Shi broke through the tradition of China's poetry creation for thousands of years and advocated vernacular new poetry. In "On the Improvement of Literature", he advocated starting with "eight things" to improve literature-"don't imitate the ancients, don't groan without illness, and have something to say", which reflected the spirit of thorough innovation. Guo Moruo's "Phoenix Nirvana" and "Tiangou" are typical manifestations of sturm und drang's May 4th spirit. Li Jinfa took out the courage of "growing day by day" and wrote a symbolic poem called "stupid mystery" in the early stage of the development of new poetry. Yu Dafu's "On Poetry" spoke highly of the Imagist poet headed by Pound's "advocating completely breaking the stale style and dead words". It can be seen that the China poets in the initial period of new poetry had a deep understanding of the spirit of innovation. In 193s, when Shi Zhe hosted Modern magazine, he pointed out that modern life gave us different feelings from the previous generation of poets, so it was necessary to arrange modern new words into modern new poetic forms to express new feelings in modern society. Ai Qing emphasizes that fresh metaphors, fresh adjectives and fresh verbs cooperate with each other to convey fresh poetic scenery. In the new period, Shu Ting and Bei Dao broke through the realistic poetic style in the early days of the founding of the People's Republic of China and wrote obscure poems that were considered obscure by people at that time. In particular, the third generation of poets, with the courage of "growing day by day", thoroughly oppose language, image and culture, think about the essence of poetry and broaden the space for poetry expression. Pound's spirit of "growing day by day" runs through the development of China's new poetry. The courage of "taking it" Pound made a valuable exploration for the nationalization and globalization of poetry. He drew extensively on the outstanding heritage of world culture, especially the outstanding achievements of China culture. However, based on the development of American native poetry, he formed a whole set of imagist poetry theory with a borrowed attitude, so that American poetry got rid of the influence of British orthodoxy and embarked on the road of modernization and Americanization. Shao Xunmei pointed out in "A Survey of Modern American Poetry" that Pound was a poet beyond his time. He was not limited by national boundaries or even time, and formed a so-called "cosmopolitan poem", which correctly evaluated the success of Pound's exploration. China's new poets also borrowed and transplanted the modern consciousness, poetic concepts and techniques of western modernism on their own initiative, based on the reality of China, while seeking innovation and change, thus forming an internal fit between China's classical poetic spirit and western modernist poetics, thus "beautifying the inherent characteristics of China literature due to external influences". From Hu Shi's study of British and American poetry, China Vernacular Poetry Movement, to Li Jinke, Dai Wangshu, Xu Zhimo's successful reference to imagism and symbolism, and even the attention paid by the Nine-leaf Poetry School to Rilke and Auden in the process of modernization of new poetry, until the misty poetry and post-misty poetry in the new period, as Wen Yiduo said, "It is not only new to China's poems, but also new to the western ones."