The formal difference between ancient poetry and modern poetry is the most obvious and fundamental difference, especially in the emphasis on level and obliqueness. Paying attention to form, that is to say, stubbornly believing that writing poetry must be proficient in meter and complete it according to the prescribed number of words in the format is harmful and does more harm than good. The reason for the rise of modern poetry is a topic worthy of our consideration. Modern poetry creation is the mainstream of poetry creation in this era and even in the future. This can be seen from the proportion of poetry published on the Internet and in traditional publications. On the other hand, if there were not the constraints of the mainstream status of ancient metrical poetry, I am afraid that the level of modern poetry would have already surpassed ancient poetry. To elaborate, I think there is no difference between ancient poetry and modern poetry in terms of epochal and historical significance in content. Whether you prefer ancient poetry or be proficient in modern poetry has something to do with the author's personal hobbies and creative methods, and has nothing to do with the quality of the poetry itself, or it has nothing to do with it. Not big, and there is no conflict with the requirements for poetry creation (both metrical poetry and modern poetry require musical beauty, leaps, dialectics, and tangible life experience).
When the development of modern Chinese poetry abandons the development direction dominated by Western literary and artistic theory, we cannot simply hope to restore the tradition of metrical poetry, as some people think. After all, the spoken language of Chinese people today has undergone tremendous changes from that of 100 years ago.
The future development direction of Chinese poetry is still to strive to be close to the most active, oral language of real society. In recent years, some poetry-like things have quietly circulated in society, such as: "First-class men..., second-class men..., third-class men...", "The red flag does not fall, the colorful flags flutter" and so on. Although relatively vulgar in content, these free folk creations already have the prototype of real Chinese poetry in the 21st century. In addition, the development of popular music will also promote the huge development of Chinese poetry. For example, the lyrics of "Farewell My Concubine" sung by Tu Honggang can be regarded as a very good poem.
Another tendency of Song Dynasty poetry is metricalization. Regarding metricalization, people in later generations had a misunderstanding, thinking that it was the rule of poetry. In fact, the emergence of rhythm is the result of poetry's requirement to be widely sung. In the market culture at that time, music was an important content, and the musical habit of teaching by words and deeds fixed some classic arias and arias. Poetry was to match those arias or arias, and there were certain requirements for their length and height. In fact, in metrical poetry, there is no problem in adding one or two words in certain places. In fact, it is just a little more syncopation and variation when singing. To a certain extent, the metrical poetry of the Song Dynasty is the requirement and result of the social division of labor and assembly line production of poetry.