He followed Wen Yiduo's theory of three beauties, namely the so-called beauty of music, architecture and painting. But he has his own unique practice, which is mainly reflected in his attempts at various poetic styles. He believes that every poetic style has its most suitable content. The most typical is his attempt and breakthrough in sonnets and prose poems. The development of many aspects of Xu Zhimo's poetry is very creative. He dares to break through the classical lyric way, blend into various western thoughts, boldly create new styles, and dare to open up new rules for new poetry, with beautiful artistic conception and aestheticism.
Secondly, in the aspect of metrical form, Xu Zhimo's exploration avoids the disadvantages of loose and superficial new poetry, thus making the content more moderate and the thought more profound.
Wen Yiduo talked about three beauties when he talked about poetic meter, which was well reflected and implemented in Xu Zhimo's poems. Mao Dun once criticized Xu Zhimo's poem "I don't know where the wind blows" and said: "We can point out that this poem is beautiful in form, neat in style and sonorous in tone. But what did the poet tell us? This is rare. " However, the success or failure of a poem is not based on the amount of content conveyed. What the author expresses in this poem is a state of mind and an emotional exchange. Poetry carries a lot of content, especially lyric poetry. Expressing the richness and authenticity of feelings is an important criterion for the success or failure of a poem.
Let's look at Xu Zhimo's external form first, and mainly talk about the innovation of meter. The format of Xu Zhimo's poems is simple but varied, which gives rise to a lot of aesthetic feeling.
Xu Zhimo's poems are unique in structure. Apart from the list of contents, from the formal point of view, his poetic forms mainly include the following categories. First, he compared the neatly arranged squares, which was consistent with Wen Yiduo's. Most of Wen Yiduo's poetry structures are neat tofu blocks, which may be influenced by classical poetry and emphasize the uniformity of sentence patterns and words. The other is a long rectangular block in the form of staggered backspace (or multi-line backspace), usually retreating by one or two spaces. The third is that each row is flush, but it is uneven from the back, forming a patchwork aesthetic feeling. The fourth is that every sentence is misspelled, forming an inverted ladder.
Third, Xu Shi's artistic conception is undoubtedly beautiful.
Generally speaking, each of Xu's poems is a vivid image, which either conveys an emotion or symbolizes a spirit or strength. But there is no doubt that they are all beautiful artistic conception, which has far-reaching new ideas during the Ming and Qing Dynasties, making most of his works attract readers' attention. * * * Ming belongs to the category of literary theory, is the highest stage of literary acceptance, and is a spiritual agreement among authors, works and readers, thus embodying the power of works and enhancing people's personality, and the artistic conception of Xu's poems has such powerful power. His poems are not only the so-called blend of scene and reality in ancient poetry, but also a strong lyricism, which has a strong lyrical appeal and infinite charm when read.
4. Soul is a kind of temperament and connotation in Xu Zhimo's poems.
Often the poet's mind flashes, and after the poet's processing, it will become a swan song. Xu Zhimo is as spiritual as Tagore. Xu Zhimo's spirit is also reflected in his article, which is as surprising as prediction. Death is an eternal topic that every poet has thought deeply about, but Xu Zhimo, who can vividly describe his death before his death, is unprecedented.