Since the beginning of the new century, the development of poetry has entered a bottleneck period, and the prospect is inevitably frustrating. In the eyes of ordinary readers, poetry has always been at a disadvantage (relative to prose and novels), and coupled with a group of so-called poets-euphemistically called-creative exploration-the result is often unsatisfactory. Undoubtedly, this self-defeating move has inevitably become a chicken rib in the already depressed literary market share.
As a literary youth, I also love reading poetry. In the process of reading, I found some shocking shortcomings in modern poetry. Fish in the throat, do not spit fast, combined with their own experience, summed up today, for the following five points:
(1) Make words at will. Since Hu Shi advocated the New Culture Movement in the May 4th Movement, modern Chinese has experienced changes, evolution, enrichment and development, and gradually matured and perfected. The correct and standardized use of Chinese is the minimum requirement for every writer. However, some poets, in pursuit of the artistic effect of "words are not surprising and endless", abruptly created some surprising and inexplicable new words, such as "dream fragrance", "fragrance" and "eyes light". However, these ingenious new words are mixed in ambiguous poems, which not only grovel, but also often confuse readers and add trouble.
(2) Sentence reading is not standardized. The original sentence, with smooth and clear meaning, happened to reach the hands of the poet and was ruthlessly dismembered. After regrouping, it becomes specious and even ferocious. As we all know, poetry is written with branches, and unconventional poets always like to cut a sentence in half: one at the end of the previous sentence and one at the beginning of the next. Such a poem, if read in one breath, feels like a dying person's confusion and delirium-the first half of the sentence is blocked by phlegm in his throat, and the second half is still spinning in his stomach!
(3) mystifying. I think everyone has had such a reading experience: all the words in a poem are obviously known, but after these commonly used words are linked into a poem by the poet, they have a magical effect, which makes people unable to capture the theme of the poem, and sometimes even the literal emotional expression of the poem is unpredictable. The reader suffers greatly, but the poet thinks highly of himself. I once took a poem I wrote to a literary friend and asked him to criticize and correct me in person. He glanced at it in a hurry and told me with a smile that this thing you wrote in the 1980 s and 1990 s may still have room for survival. I can only kill you today, because your poems can be read, which is a great failure. If you want to win the recognition of others, you must write it as an impressionist painting, so that all mankind can't understand your motives, if even the Lord and Satan can't understand it. I can only smile bitterly at Wenyou's remarks. But I understand that at present, this is the only way for poetry to survive.
(4) I haven't finished yet. Some poems are written in more than 50 lines (or even more), and at first glance, they are endless and spectacular; After reading, I am full of enthusiasm and lingering, and I am still full of literary talent ... But from beginning to end, sometimes I can't help but feel that I haven't finished my words, and it is obvious that the author has not presented his emotions to the fullest. Of course, this way is not an artistic blank, nor can it reach a far-reaching realm. I can only say that it is anticlimactic. Faced with this situation, I can't help thinking, does the author want the reader to continue writing this unfinished poem completely? This is ridiculous.
(5) Lost the beauty of music. Mr. Lu Xun once said, "Poetry should be in form, easy to remember, easy to understand, easy to sing and beautiful …". Mr. Lu Xun's emphasis on "easy to sing and pleasant to listen" undoubtedly refers to the musicality of poetry, which is also one of the important symbols of poetry aesthetics. Many classics in The Book of Songs, China's earliest poetry collection, were used to sing at that time. On the other hand, the "poetry" that is now full of paper media and online platforms, where is the shadow of musical beauty? They have completely desecrated and betrayed the characteristics and connotation of "poetry" and slipped into the abyss of falsehood and artificiality.
Kitajima described one thing in an article. His niece told him that if he published a collection of essays in the future, he could give her one, but if he published a collection of poems, he wouldn't send it. Although Beidao's description of the incident is understated, we can still capture the poet's unspeakable hidden pain between the lines. Poetry has fallen to this point, what can my husband say!
I don't like reading modern poems more and more, because all I read is the information of broken dreams. Some poems I bought are curled up in the corner and have already been covered with dust. Until one day, I accidentally read the lyrics of Wang Feng's "In Spring" and Xu Wei's "Two Days", as if I saw a crescent moon in the dark night. Spring is full of faint sadness and deep humanistic feelings. Two days is full of philosophical pursuit and growth thinking. They are far more vivid than the poems of some so-called famous poets today, and they have more direct power to hit people's hearts. It seems reasonable for Professor Qian Liqun to select the lyrics of Cui Jian's Nothing as a poem in college Chinese textbooks.
Today's poets should pay tribute to upright musicians, don't continue to be superstitious about desolation and emptiness, and learn to care about growth and mind like them; Learn to fear the land and years like them; Learn to reflect and inherit, and learn to deeply root your own creation in endless life. Look up to life and faith with a pure heart, so that the works created will not lose blood and weight, and only unique works can enter the hearts of readers. This is a historical experience that all poets should examine.