watch out for
Obscure poetry is the most important topic in the history of contemporary poetry in China. Its importance lies in opening up many directions of poetry and enlightening many possibilities of contemporary China poetry. Its original significance needs to be further explored. For China's contemporary poetry, misty poetry has always been a powerful existence and an inexhaustible treasure house with rare gold content. It is generally believed that misty poetry began in 1978 with Today Magazine edited by Kitajima. The poets who were active in Today magazine at that time included the later famous poets Shu Ting, Gu Cheng,,, Liang, and Munk. Influenced by western modernist poetry, they borrowed some expressions of western modernism to express their feelings, emotions and thoughts. The poetry they created was completely different from the realistic or romantic poetry style prevailing in the poetry circle at that time. These poems were later collectively referred to as "misty poems".
Poetic naming
The name Misty Poetry comes from historical misunderstanding, and it can also be said that it is a meaningful title given to this group of poets in a specific era. The eighth issue of Poetry Journal 1980 published Zhang Ming's article "Forgotten Ambiguity". In this article, Zhang Ming pointed out that some of the current poems are "obscure and eccentric, which makes people read them several times without a clear impression, and seem incomprehensible, semi-incomprehensible, or even completely incomprehensible." Although the poetry examples cited in this paper are Autumn by Du Fu, a poet with nine leaves, and Love Night in Hainan, the phenomena mentioned are mainly aimed at the explorers of the "new poetry tide", from which the name of "misty poetry" was established, and it was widely used with the debate about misty poetry and misty poetry in the future. This group of young poets with unique intentions and novel writing styles have been criticized, and even writers of the older generation, such as Ai Qing, Li Ying and Cang Kejia, scoffed at them. However, the voices supporting misty poetry have come and gone, which has greatly promoted misty poetry.
condition
The confirmation of the historical position of "misty poetry" benefits from the theoretical support of "three rises": Xie Mian's Facing the New Rise, Sun Shaozhen's The New Aesthetic Principles are Rising, and Xu Jingya's The Rising Poetry.
Create background
Poetry was sent in the late 1970s and early 1980s, with representatives of Beidao, Shuting, Gucheng, He Jiang and Yang Lian. As a creative group, the "misty poetry school" has not formed a unified organizational form and issued a declaration. However, it has formed a "rising poetry group" with its own independent artistic thoughts and creative achievements. At that time, there was a debate about misty poetry in the literary world. The spiritual connotation of "misty poetry school" has three levels: one is to expose darkness and social criticism; Second, looking for light in the dark, reflecting the sense of exploration and strong heroism; Third, based on humanitarianism's special concern for "people". The "misty poetry school" rewrote the traditional model of describing "reality" and illustrating policies in the past, regarded poetry as an important way to explore life, and reached an unprecedented height in philosophical significance. In a sense, the rise of "misty poetry school" is also the rise of the life tree of China literature.
Misty poetry in Poetry Magazine is undoubtedly the most important topic in the history of contemporary poetry in China. Influenced by western modernist poetry, they use some expressions of western modernism for reference to express their feelings, emotions and thoughts. The poetry they created was completely different from the realistic or romantic poetry style prevailing in the poetry circle at that time.