An important school of poetry in the history of modern new poetry is generally divided into two periods by 1927. The early stage began in the spring of 1926, supplemented by Beijing Morning Post? Poetry magazine is the front, and its main members are Wen Yiduo, Xu Zhimo, Zhu Xiang, Rao Mengkan, Sun Dayu and Liu. They are dissatisfied with the style of "free poets" who ignored the art of poetry after the May 4th Movement, advocate new metrical poetry, advocate "rational emotional control", and oppose the promiscuity and prosaic tendency of poetry. From theory to practice, they made a serious exploration of the new poetic meter. Wen Yiduo put forward the famous thought of "three beauties" in "The Metre of Poetry", that is, "the beauty of music, the beauty of painting and the beauty of architecture". Therefore, the crescent school is also known as the "new metrical poetry school". The crescent school corrected the weakness of the early poetry creation that was too informal, and also made the new poetry enter the period of conscious creation. /kloc-in the spring of 0/927, Hu Shi, Xu Zhimo, Wen Yiduo, Liang Shiqiu and others founded Crescent Bookstore, and the monthly magazine Crescent was founded the following year. The main activities of the "Crescent School" moved to Shanghai, which was later the Crescent School. Its main positions are New Moon and Poetry, which were founded in 1930. The new members are Chen, Fang and Bian. In the later period, the Crescent School put forward the principles of "health" and "dignity", adhered to the position of "pure poetry" which was super-utilitarian, self-expression and aristocratic, and emphasized "purity of essence, thoroughness of technique and rigor of meter". However, the artistic expression and lyricism of poetry are close to modernist schools.
The beauty of music in the "three beauties" means that each section of the new moon poem is different, just like music. Architectural beauty means that the format of poetry is like architecture. The beauty of painting is that every paragraph of a crescent poem can be painted.
Farewell to Cambridge: The poem consists of seven sections, each with four lines and two or three meals. Eclectic, rigorous, rhyming with two or four rhymes, cadence, catchy. This beautiful rhythm ripples like ripples, which is not only the voice of pious students seeking dreams, but also conforms to the ebb and flow of poets' emotions and has a unique aesthetic pleasure. The seven verses are strewn at random, and the rhythm spreads slowly in them, which is quite a poet's temperament of "white robe and thin suburban island". It can be said that it embodies Xu Zhimo's poetic beauty thought.
Farewell to Cambridge has three beauties in form: painting beauty, music beauty and architecture beauty.
1, the beauty of painting means that the language of poetry has chosen more colorful words. The whole poem selects words such as "clouds, golden willows, sunset, waves, shadows, green flowers, rainbows and meadows", which gives readers a visual imagination and expresses the author's deep affection for Cambridge. The whole poem has seven sections, and almost every section has a picture that can be painted. If you gently wave goodbye to the clouds in the west, the golden willows along the river sway in the Hekang River; The aquatic plants at the bottom of the He Kang River are swaying, which seems to have something to say to the poet ... The author makes every painting full of flowing picture beauty, and gives people a three-dimensional sense through words with strong movements, such as waving, rippling, swaying, smashing, swimming back, waving and so on.
2, the beauty of music, is the syllable of poetry, catchy, patchwork, are all manifestations of musical beauty.
A, rhyme, rhyme foot is: come, color; Mom, hey; Shake it, grass; Rainbow, dream; Hui, Song; Xiao, bridge; Come on, Cai.
B, syllable harmony, strong sense of rhythm.
C, cycle back and forth. The first paragraph and the last paragraph are similar in meaning and rhythm, forming an echo structure.
3. The beauty of architecture is the symmetry of rhythm and the neatness of sentences. Farewell to Cambridge has seven sections, each with two sentences, with single and double lines staggered by one grid. No matter from the arrangement or the number of words, it is also unified, giving people a sense of beauty.
Appendix: Farewell to Cambridge (Author/Xu Zhimo)
I left quietly,
When I came softly; (rhymes)
I waved gently,
Say goodbye to the western clouds. (rhymes)
Golden willow by the river,
Is the bride in the sunset; (rhymes)
Shadows in the waves,
Ripple in my heart. (rhymes)
Green grass on the soft mud,
Oily, swaying at the bottom of the water; (rhymes)
In the gentle waves of He Kang River,
I would like to be an aquatic plant! (rhymes)
A pool in the shade of elm trees,
Not a clear spring, but a rainbow in the sky; (rhymes)
It is the rainbow in the sky that is crushed in floating seaweed.
Precipitate a rainbow-like dream. (rhymes)
Looking for dreams? Lift a long pole,
Stroll back to greener grass, (rhyme)
Full of stars,
Play songs in a starry place. (rhymes)
But I can't play songs,
Quiet is a farewell flute; (rhymes)
Summer insects are also silent for me,
Silence is Cambridge tonight. (rhymes)
I left quietly,
Just as I came quietly; (rhymes)
I waved my sleeve,
Don't take away a cloud. (rhymes)
Dead Water is Wen Yiduo's masterpiece. The poet compared the dark and corrupt reality of old China to "a pool of stagnant water", expressing his hatred of ugly forces and his love for the motherland. The last verse of the poem shows that, on the one hand, he has no illusions about darkness and firmly believes that ugliness cannot produce beauty; On the other hand, it doesn't look like a resurgence. "It is better to abandon ugliness and cultivate one's morality" is an angry word. Zhu Ziqing wrote in Wen Yiduo's complete works? The preface said: "It is simply to make ugliness full of evil early, and there is hope in despair." Hope in despair and patriotic enthusiasm in cold are the ideological characteristics of this poem.
"Dead Water" is also Mr. Wen Yiduo's "first most satisfactory syllable experiment", which is a typical example of Mr. Wen's experiment on his "three beauties" new metrical style. The whole poem consists of five sections, four lines in each section, and nine words in each line, which are composed of three "two-character" and one "three-character" respectively, forming 2232 or 2322 or 3222 tone lattices, and finally ending with two syllables. Although the arrangement order of the ruler is not exactly the same, the total number is exactly the same and keeps neat in the change. Uneven levels are also used in cadence. The poet is like "dancing in chains", but it is amazing that he dances so easily and harmoniously!
In addition, poetry draws lessons from the irony of modern western poetry and the artistic principle of "taking ugliness as beauty". In the middle three paragraphs of the poem, rich imagination is developed, and the ugly things in the stagnant water are fully painted with beautiful shapes (jade, peach blossom, rocky, Xia Yun, sake and foam), and the dirty, moldy, gloomy and silent stagnant water is satirized with bright colors and loud voices. Beauty and ugliness are intertwined and contrasted, and the artistic effect is refreshing.
Appendix: stagnant water (author/Wen Yiduo)
This is a ditch/despair/stagnant water.
Breeze/I can't afford it/I can't afford it/I can't afford it. (rhymes)
It's better to pay more/scrap copper/scrap iron,
Cool/spill your/leftovers/leftovers. (rhymes)
Maybe/copper/green/jade,
On the tin can/embroidered/a few petals/peach blossoms. (rhymes)
Jean/greasy/weave another layer/Luo Qi,
Shape/give him/steam out some/clouds. (rhymes)
Let stagnant water/fermentation/ditches/green wine,
Full of/pearls/images/foam; (rhymes)
Beads/laughter/becoming/big beads,
I was bitten by a wine thief/flower mosquito/again. (rhymes)
So/a ditch/despair/stagnant water,
Just/across/a little/unique. (rhymes)
If/frog/unbearable/lonely,
Still/stagnant/screaming/singing. (rhymes)
This is a ditch/despair/stagnant water.
Here/definitely not/beautiful/where, (rhymes)
Best/Give/Ugly/Recycle,
Look at him/create a/what/world. (rhymes)
The influence of "three beauties" on later researchers
If Mr. Wen Yiduo is the theoretical founder of the new metrical poetry school, then Mr. Xu Zhimo is the advocate and diligent practitioner of the new metrical poetry. In many of Mr. Xu Zhimo's poems, his requirements for beauty are revealed. In particular, his classic "Farewell to Cambridge" is the comprehensive artistry of his poetry's requirements for "three beauties". The language of this poem is fresh and has the outstanding characteristics of popularity and fluency, but it is also deeply tempered, with no traces of carving and full of musical beauty. The first paragraph and the last paragraph are repetitive, and the words "gently" and "quietly" are also overlapping, which strengthens the sense of rhythm. Every poem changes rhyme with the change of feelings, which is very consistent with the rhyme of Mr. Wen Yiduo's "Dead Water". In addition, one or three songs are in the front, and two or four songs are in the back, which are ethereal and organized, one or three songs are shorter, and two or four songs are longer, all of which show the beauty of architectural symmetry; Words such as "Golden Willow", "Soft Wave", "Magnificent", "Soft Mud" and "Green Grass" are both vivid and feminine, which all give people the enjoyment of painting beauty. As for the metaphors in the poems, they are all fresh, accurate and vivid, just like running water, without the Europeanization tendency of the new poems at that time. In a word, Farewell to Cambridge is a poem with cadence, repeated tones, symmetrical format and female images in the text, which has reached a perfect artistic realm. In addition, the creation of new metrical poems has also been insisted and pursued by other poets, and a small number of new metrical poems have appeared, which has a great influence. Especially since the new century, the platform for the creation, research and communication of metrical new poems, represented by "Oriental Poetry Style Forum" and "China Metric New Poetry Network", has been born. It clearly opposes being divorced from reality, from the public and from tradition, emphasizes being close to reality, fluent in language, paying attention to the beauty of music and giving consideration to the beauty of form, and a number of lovers such as Yun Qi, Liu Nian, Song Yushu and Yu Xiaoqu have emerged.
The study of new metrical poems has never stopped. From Mr. Wan Longsheng's Typical Poem Lines and Semi-teasing Rhyme, to Mr. He Qifang's advocacy of metrical, emphasizing the central position of "dun" in the new metrical poems after liberation, to Mr. Bian's distinction between intonation and rhythm, and to Mr. Wan Longsheng's proposal of "infinite operability" of the new metrical poems after the 1980s, Mr. Sun's Introduction to China's new metrical poems.
The development of the theory and creation of new metrical poetry reflects the critical absorption of western culture and the tenacious return to the national cultural tradition. I believe that with the rediscovery of national self-confidence and the spiral development of new poetry, the creation of new metrical poetry will flourish in the future, and the theory will be further developed, popularized and gradually fixed. A three-legged situation of traditional poetry, modern new poetry and metrical new poetry will eventually form.