Interpretation of Contemporary Literary Nouns of "kuya School"

The representatives of Nine Leaves School are Xin Di, Chen, Tang Qi, Tang Shu, Mu Dan, Du, Yuan Kejia, Hang Yuehe, Fang Jing, Mo Luo, Jin Kemu, Xu Chi, Li Baifeng, Li Ying, Fang, Yang He, Lv Lianggeng and Cao Xinzhi. [Edit this paragraph] Among the main works of the Nine Leaves School, Cao Xinzhi, Xin Di, Chen, Tang Qi, Tang Shu, Du, Mu Dan and Yuan Kejia published Nine Leaves Collection on 198 1, hence the name. Nine-leaf Poetry School pursues "dramatization of new poetry" in the artistic expression of poetry. Most of them came to the poetry world under the influence of modernist poets in the 1930s, and half of them were students of National Southwest Associated University. At National Southwest Associated University, they studied the literary theory of western modernism and began to write poems. 1946 teachers and students of National Southwest Associated University returned to Pingjin. Their works often appear in Ta Kung Pao Supplement, Literature Weekly in Zhou Wenyi and Tianjin, Yi Shi Daily Supplement in Tianjin, Shi Jing Daily in Peiping and Literature Magazine in the Commercial Press. On July 1947, poetry creation was established in Shanghai, with the participation of Hang Yuehe, Xin Di, Chen, Tang Qi, Tang Shu, Fang Jing, Fang, Mars. But at this time, the authors of poetry creation are relatively extensive, and the genre characteristics are not obvious. In June, some poets set up a series of New Poems in China, with Hangqiao, Xin Di, Chen, Tang Qi, Tang Shu and Fang Jing as editorial boards. Together with Mu Dan, Du Fu, Yuan Kejia in the north, they set off a wave of modernist poetry. They call themselves "a group of conscious modernists". Therefore, the establishment of China's new poetry is regarded as the symbol of the formal formation of the Nine Leaves Poetry School, also known as the "China New Poetry School". [Edit this paragraph] Jiuye Poetry School Jiuye Poetry School uses poetry to express major social issues, but it also takes into account the freedom to express personal feelings; When expressing social life, we pay attention to the philosophical thinking and rational exploration of the subject, unlike the July poets who directly express their thoughts and call for battle. In China's social environment, they didn't get the profound philosophical consciousness of western modernist poets, but their analysis of social reality was sharper and deeper than that of any China modernist before. [Edit this paragraph] Nine Leaves School's works on war. Nine Leaves School has a large number of works on war themes. They seldom describe the war positively, but pay attention to revealing people's deep mentality in the state of war and seeking the spirit of resistance. Du's series of works are devoted to the in-depth exploration of war and human destiny, and seek the way of human inner liberation. Ghosts in the Woods cry at night and condemn the pain caused by the war with the souls of dead Japanese soldiers: "Death is the most meaningful time in my life,/and the happiest time:/I am finally free. /Evil is invincible, but I have the opportunity to tell you loudly that we are friends. " His dead Boss abandoned by the roadside, serious games, final performance, thanks, Mu Dan's praise and the soul of the forest all accuse the war of distorting and destroying human reason and civilization, and reveal people's spiritual difficulties and confusion: "How many dynasties rose and fell around him/and pinned their hopes and disappointments on him?" /He always turns silently behind the plow,/turns up the same land that dissolved his ancestors,/and the same scene of suffering freezes on the roadside. "(like). [Edit this paragraph] There are also a large number of critical works of the Nine Leaves School that curse the darkness and reflect on history. In criticizing ugliness and exposing darkness, they reveal the trend of historical development and look forward to a bright future. Xin Di's "Cuckoo Bird" is about "people's sufferings are endless". Fang Jing's "Looking at the World" asked loudly: "Who gave us this dense day? Who told us to live without anyone's meaning? " Defend Chen's "defense" and curse "storms and cruel days". In addition, there are Tang Qi's Women's Prison, Yuan Kejia's Shanghai and Hang Jiahe's Land of Resurrection. It combines the pain and struggle of the nation with the darkness and light of the times, and is full of profound philosophy and internal strength to remind people of the law of historical development. Mu Dan's "Crack" is very reflective of history: "The new forces are suppressed and distorted,/until they are crushed, they can be safe and sound; /Young people learn to be smart, old people/so continue to be stupid,/who cares about the future? No one is heartbroken:/What changed tomorrow has changed today. "Personal life and national life are bound by tradition." Learn to be ruled before you can rule./The example of his predecessors, crawling patiently,/He won a medal after a long period of confusion. "(Online) In the reflection on tradition, it contains the poet's strong feelings of reforming national tradition and strengthening national spirit. [Edit this paragraph] The discussion works of the Nine Leaves School and some works of the Nine Leaves School show the poet's thinking on the living conditions of modern people and his discussion on the value of human life. These works can better reflect the richness and profundity of the soul of Jiuye poets. Mu Dan is the most representative poet of the Nine Leaves Poetry School. The humanistic dilemma that modernists care about and the suffering and hope of the Chinese nation appear alternately in his poems. Mu Dan expressed the anxiety of life in his poem: "What shall we do? What should we do? "However, the contradiction from history oppresses us,/balance, poison? Every impulse of ours can only leave a painful experience in the end: "An ordinary person includes countless assassinations and countless births." (Accusation) The struggle of life is so cruel and difficult: "On a cold night in the twelfth month, the northern plains are swept by the wind,/the fields in the north are withered, the barley and millet have been pushed into the village,/... a heavy, textured face,/what is he thinking? What does he do? In the bitter experience of life, Mu Dan revealed to readers a kind of "stubbornness" in the struggle between life consciousness and soul: "To live in this dangerous land,/to live in the coming of mass death,/when all illusions have become ferocious, all forces have been/destroyed as ferociously as the exposed sea/become stronger and stronger like you and me, and become more and more withered,/. Mu Dan saw the hope of mankind in his life's struggle: "Facing the dark muzzle, you will see/from the distorted track of history,/I am reborn." (May) In addition, there is Du Fu's Well, which mainly shows the loneliness and profundity of modern people's souls: "You only learn from my surface,/leaving a cold and silent heart,/letting flowers and leaves falling in all directions rot. //You also disturb my performance,/My life comes from the dark stratum,/Where I am connected with the boundless universe. " Chen's Spring for Logical Patients describes the living dilemma of modern people: "We are tiny sardines in modern cities,/No matter what we eat, drink, live and travel,/we are all crowded! You can't be squeezed. " Her Ship and Us depicts the indifference between modern people, while Ma Fenghua's Crying longs for communication between people. Their philosophical thinking is based on the real world, exploring people deeply, and excavating broader ideological content from broader social life phenomena than politics. [Edit this paragraph] The influence of the Nine-Leaf School The poetic thoughts and creative practice of the Nine-Leaf School poets have had a far-reaching impact on the modernization of China's new poetry, which is mainly reflected in the following aspects: they pursue the "balanced beauty" of poetry in the art of poetry. 1, kuya Poetry School consciously pursues the "balance beauty" between poetry art and reality in its creation. They are a group of motivated young people with a sense of mission and responsibility. They "absolutely affirmed the reality of life that poetry should contain, explain and reflect." At the same time, they respect the artistry of poetry, and they hope to "strike a balance between reality and art, so as not to let art escape from reality or let reality stifle art", and "poetry should enjoy an independent artistic life while reflecting reality". 2. Nine-leaf Poetry School pursues the "beauty of balance" in expressing reality and excavating the inner heart in poetry content. Their poems not only pay attention to the exploration of the inner world, but also do not get lost in their own narrow world; He not only "abandoned his beloved mirror and began to look for the world outside his own world" (Revelation by Hangqiao), but also always expressed his unique feelings about the world through poetry. 3. Nine-leaf Poetry School pursues the "beauty of balance" of rationality and sensibility in poetry creation. Mu Dan's Fortress Besieged triggered the sensibility of the poem with a complete artificial circle: "A circle, how many years of labor,/our despair will make it complete." What the poet really wants to express is his rational thinking about life or life: "Because we are surrounded,/When we turn over, there will be a new land awakening." Mediocre perfection makes us empty, and we are trapped in the circle. Incompleteness means destruction, danger and even sacrifice, but it enriches us and brings new hope. From perfect psychological experience to incomplete psychological experience, it is a philosophy of life that would rather die than surrender and give birth to hope in despair. Xin Di's Scenery and Tang Qi's The Old Prostitute describe the perceptual images in life, and at the same time contain the poet's rational thinking about social ills. 4. Nine-leaf Poetry School pursues the "beauty of balance" in the process of the integration of Chinese and western poetry art in poetry creation. They tried to digest and integrate western modern poetry with a dual traditional life (the tradition of China's classical poetry and the excellent tradition of new poetry), at the same time, they consciously absorbed the new factors of western modern poetry art, enriched and developed their artistic life, thus gaining a new perspective and gestating a unique modern poetry style. [Edit this paragraph] The poetic style of kuya School The kuya School pursues "dramatization of new poetry" in the artistic expression of poetry. In the field of new poetry in China, Wen Yiduo and Bian were the first to try to dramatize new poetry and create the artistic conception of poetry with "dramatic situation" and "dramatic lines". The nine-leaf school of poetry got inspiration from it and theoretical basis from western modernism, thus developing various dramatic techniques: dramatic structure, dramatic situation, dramatic monologue or dialogue, etc. , enriched the means of expression of poetry. Hang Jiahe's Land of Revenge permeates his hatred and expectation into the drama plot, making the poem more objective and true. Mu Dan's In Cold December shows the miserable life of northern farmers under heavy pressure by monologues and dialogues. Mu Dan's Eight Poems is a group of love poems with exquisite internal structure and profound philosophical connotation. The whole poem takes the conflict of "you", "me" and "God" as the clue, promotes the development of love and life process, launches various contradictions and struggles, and forms a relaxed internal rhythm and seamless drama situation. [Edit this paragraph] The contribution of kuya School The creative exploration of kuya School has made an important contribution to the development of China's new poetry. Although this exploration did not continue because of the specific social environment, its poetic value was effectively transformed into the creation of a new generation of poets after the arrival of the new era. "If we compare the poems of the misty poetry school and its followers in the 1980s with the masterpieces of the masters of the new poetry school that have emerged in the last half century, we can see that misty poetry is actually the bud of China's new poetry in the 40s.