Dai Wangshu (1905- 1950), whose main works include my memory, Wang Shucao, and the years of disaster. Characteristics of Dai Wangshu's early poems: My Memory, the first collection of poems, is mostly love poems and sad poems, expressing feelings of confusion, disappointment and rejection of real life. Most of the works are placed in order, paying attention to musicality. The second collection of poems, Wang Shucao, shows the maturity of the author's poetic skills. Wang Shucao established a free poetic style characterized by the beauty of prose. In this collection of poems, emotional stanzas have completely replaced written stanzas, and its rhythm is manifested in the free and legal movement of modern people's emotions in poems. Dai Wangshu's poems are mostly a combination of symbolism and romantic lyricism rather than a single symbol, so they are still emotional rather than subjective.
The change of Dai Wangshu's poetic style after the outbreak of the Anti-Japanese War: The Wall in Prison expresses the poet's yearning for sunshine and breeze in that dark and humid dungeon, and the language of the poem has also washed away the previous lead and returned to the simple quality. "I Break My Palm" shows the poet's eulogy of "Eternal China". This kind of poetry, from the content to the creative method, belongs to realism, which shows Dai Wangshu's transformation from modernism to realism. The following is the content of teacher Rong's courseware:
The writing background of Rain Lane and the true meaning of this poem
1928, Rain Lane was published, and the center of new literature began to shift from Beijing to Shanghai. The colorful modern scenery of Shanghai, the largest city in Asia, has attracted the attention of a group of young writers. A trackless train designed by Liu Naou, Shi Zhecun and Dai Wangshu is full of luxury and floating feeling of modern urban life, and it is opened from Shuimo Bookstore for people to watch. However, in his own poems, Dai Wangshu, like Shakespeare in the heroic Renaissance, made Hamlet ponder and hesitate for "to be or not to be, that is a question". He also created an alley with light rain in the city that never sleeps, mourning and hesitating for the melancholy urban youth. Structurally, Rain Lane begins with searching, then goes into memory and illusion, and finally returns to melancholy. But the ending is not a simple repetition of the beginning, but a poetic concern. The "encounter" of the fragrant and melancholy lilac girl in the illusion implies a kind of consciousness pursuit that can never coincide with desire, so the rain lane finally becomes a symbol and becomes more unfathomable. Why do poets bring people into such a language world far away from the noise of the world? Why does he want to meet a lilac girl with classical colors but modern confusion, and at the same time write this meeting as an erratic dream? Does this reflect the tension between poets and modernity?
Personal Memory and Fantasy Writing
Like most lyric poets, Dai Wangshu faces personal memories and dreams. Because it is "personal", his poems neither pursue the concreteness of imagist poetry nor lead to the impersonality of modernism; Because it is "memory" and "dream", rather than facing a moving real world, "emptiness" is mostly a feeling and imagination without real "content" But can we ask the imaginary language world for the specific content of the life world, and can we ask symbolism for philosophy and metaphysics to find subtle emotional feelings and hazy mysterious atmosphere? How can we maintain the necessary understanding and sympathy for the entanglement between memory and dreams and the struggle of the soul?
Indeed, Dai Wangshu is an excellent lyric poet, not a great poet. His poetic realm is not great, and his poetic soul is also very weak. Historically, however, Dai Wangshu's poems have promoted the exploration of modern poetry in China by returning to personal memories and dreams. Recently, as mentioned earlier, he no longer transplanted western poetry like Li Jinfa, but grafted western symbolic poetry with China's lyric tradition, thus conveying the state that symbolic poetry was divorced from the real China experience and classical sentiment. From a distance, through personal memory, the "return" of dreams and the use of symbolic skills, the "self" image of new poetry has been updated, with less flashy colors of May 4th poetry and more flesh-and-blood feeling and realism.
Achieving "Modernity" through "Return"
Dai Wangshu is an important intermediary in the pursuit of modernity in China's poetry. In terms of experience and skills, China's modern poetry needs Dai Wangshu to achieve modernity through "regression". Because of Dai Wangshu, symbolism became acceptable; Because of Dai Wangshu's poems, "new" and "old" seem to be less out of place; Because Dai Wangshu sings and sighs about urban diseases, people's feelings about modern life marked by urban development become complicated.
Bian Zhilin. The following is the content of teacher Rong's courseware:
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On the one hand, it is metaphysical, and in the context of meditation, it pays more attention to intellectuality; On the other hand, it is to strive for "the dialogue of the main voice" and pursue the impersonality and dramatic tension of the performance.
It can be said that the new poetry in 1930s, represented by Bian, marked the transition of China's new poetry from symbolism to modernism (from learning French poetry to learning European and American modernist poetry), from identifying with Qu Sao's traditional romantic lyricism to identifying with the creative mood of late Tang poetry.
Judging from the development of "new poetry", it is an aesthetic turn from "theme poetry" to "noumenon poetry": the former's poetry is functional, and poetry exists to express the poet's emotion and personality; The latter, the poet exists for poetry, which shows the independence of poetry text.
Mudan
Mu Dan (19 18- 1977) is the author of poems: Expedition, Poems of Mu Dan (1939~ 1945) and Eight Banners. The "self" in Mu Dan's poems: Eight Poems, I Tell Myself and other poems show Mu Dan's unique exploration and expression of "self". Eight poems eulogize the rich and complicated process of love and the beauty, strength and eternity of love. Mu Dan's "I" is deeply rooted in the reality of China. Early poetry has shown a tendency to pay attention to real life. The charm of the forest-offering sacrifices to bones by the Kang Hu River, celebrating life and eternity in the face of war and death. Mu Dan's self has always been in a painful self-dissection, devoted to showing his spiritual self-struggle and various painful and rich experiences, and full of profound introspection and speculative power.
Mu Dan's exploration and expression of "self" in his poems has a long history. Mu Dan's unique exploration and expression of "self" is reflected in his poems such as Me, I Tell Myself and Eight Poems. Mu Dan's "I" is a divided, incomplete, contradictory and painful "I", living in a chaotic and dark reality. Eight Poems is not only a poem about love, but also a poem about self. The poet described and praised the rich and complicated course of love, and praised the beauty, strength and eternity of love. ② Mu Dan's "I" is deeply rooted in the reality of China. Early poetry has shown a tendency to pay attention to real life. With the growth of poets, the deepening of life experience, the influence of European and American modernists and Ai Qing, the art of poetry is becoming more and more mature. Exploring the individual in the reality of social life and realizing the reality in the development of individual life have become the remarkable characteristics of Mu Dan's poems. Mu Dan's self has always been in a painful self-dissection, devoted to showing his spiritual self-struggle and various painful and rich experiences, and full of profound introspection and speculative power. The following is the content of teacher Rong's courseware:
Mu Dan (1918-1977) is a poet and translator. Formerly known as Cha, he was born in Haining, Zhejiang. 19 18 Tianjin native, right when studying in Nankai Middle School.