In this important reform movement, the language symbol of poetry is a strong interest center. Progressive poets pay attention to, think about and explore this problem. The awakening of language problems that have been sleeping for a long time has a profound corresponding relationship with the great changes in society at that time. As the American philosopher Morris pointed out: "The highest interest in the study of symbols is in the period of universal social change" (Open Self). In the collision with western civilization, China society has undergone fundamental changes. With the influx of new things and ideas, a large number of new words and concepts are also input. Wang Guowei once said: "Japanese Chinese translated from Spanish has invaded our literary world with the power of gangsters" (On the Losers of New Language Learning). The emergence of a large number of new words has accelerated the changes of Chinese itself, and the difference between classical Chinese and social actual language is even greater. In the new active language system, the symbols of classical Chinese are more obsolete, the communicative function is weaker, and the requirements for reform are unprecedentedly strengthened. It is in this context that Liang Qichao and others can turn their attention to language issues. For the development of literature, this is a very important awakening of language consciousness. At that time, the creation of reformist poets showed two tendencies. One is the language pursuit of Tan Sitong and Xia Cengyou, whose characteristic is to put a large number of new words into poems. Because in the period of change, the new symbol system has not been established, and the new words they use are often not clear and extensive enough.
The "Poetic Revolution" advocated by Liang Qichao and others rekindled the beacon of poetry reform. Liang Qichao pointed out with a unique sense of crisis of the times: "Unless there is a revolution in the poetry circle of Zhina, poetry will be doomed." "For thousands of years, the field of poetry has been occupied by celebrities who parrot. ..... So, it's enough not to write poetry today. If you write poetry, you must be Columbus Marcelo in the poetry world. "
In this important reform movement, the language symbol of poetry is a strong interest center. Progressive poets pay attention to, think about and explore this problem. The awakening of language problems that have been sleeping for a long time has a profound corresponding relationship with the great changes in society at that time. As the American philosopher Morris pointed out: "The highest interest in the study of symbols is in the period of universal social change" (Open Self). In the collision with western civilization, China society has undergone fundamental changes. With the influx of new things and ideas, a large number of new words and concepts are also input. Wang Guowei once said: "Japanese Chinese translated from Spanish has invaded our literary world with the power of gangsters" (On the Losers of New Language Learning). The emergence of a large number of new words has accelerated the changes of Chinese itself, and the difference between classical Chinese and social actual language is even greater. In the new active language system, the symbols of classical Chinese are more obsolete, the communicative function is weaker, and the requirements for reform are unprecedentedly strengthened. It is in this context that Liang Qichao and others can turn their attention to language issues. For the development of literature, this is a very important awakening of language consciousness. At that time, the creation of reformist poets showed two tendencies. One is the language pursuit of Tan Sitong and Xia Cengyou, whose characteristic is to put a large number of new words into poems. Because in the period of change, the new symbol system has not been established, and the new words they use are often not clear and extensive enough.
For example, "If you are in pain, you will be better in Bibal." "Kasd", "Fa Hui" and "Balmen" in the two poems are all translated names. It is difficult for ordinary readers to understand such poems. Liang Qichao, starting from attaching importance to the communicative function of language, basically denied these poems and valued Huang Zunxian's other efforts. In terms of language, Huang Zunxian does not use too many new words in his poems, but insists on using "colloquial dialects". His negation of China's classical symbols is very clear. In Miscellaneous Feelings, he published a prominent opinion: "Popular Confucianism respects the ancient, and papers are increasingly studied. There is nothing in the six classics, and I dare not enter poetry ... I handwritten my mouth, how can I be detained? " Huang Zunxian's poems mostly express new realm and new things in popular language, which has a great influence for a while and is regarded as the most accomplished poet in the "poetic revolution". The two creative tendencies of the "Poetry Revolution" both try to break through the stale classical Chinese, so they are both beneficial efforts. In the past, people's evaluation of "new nouns expressing differences" in Xia and Tan's poems seemed too low, but it was Xia and Tan's efforts that gave a unique color to the reformist literary movement, which made it different from the poetic language popularization movement in history. The daily language in modern China is also undergoing rapid changes and updates. With the establishment of the new language symbol system, it will become more and more important to use "new words" into poetry, but it will coexist with the tendency of using "spoken dialects" into poetry and gradually merge.
However, the "poetic revolution" of Liang Qichao and others is as incomplete as their political reform. They only deal with the language of poetry to a certain extent, thinking that the old poetic style should be preserved, and their program is "to enter the old poetic style with new artistic conception and new sentences." Liang Qichao believes that if we can do this, we can become "the king of China poetry in the 20th century".
It was the advocator of the May 4th Movement who really became "Columbus in Poetry" and found the "New World" for China's poetry. The May 4th New Literature Movement broke through the limitations of the "Poetry Revolution", which not only completely replaced classical Chinese with pure vernacular Chinese, but also completely got rid of the old-style poetry, opening up broad prospects for the development of poetry.
19 15, Hu Shi, who was studying in the United States, and his friend Ren Shu Yongquan had an argument about whether new words could be included in poetry. The starting point is only the level of "poetry revolution". However, Hu Shi did not stop there. The argument with conservatives inspired his innovative consciousness, and he soon wrote vernacular poems. Others began to write vernacular poems at the same time or later. This is a brand-new attempt in the history of China's poetry. The poet's earliest pursuit is to write poems in the real vernacular, as the poet Lu Zhiwei said: "What I hope most is that people who write vernacular poems speak the vernacular first, write the vernacular, learn the vernacular, and whether they can write poems or not." (Talk about the rhyme of vernacular poetry again). The early writers of new poetry really got to the heart of the problem. When they carefully wrote poems in vernacular Chinese, they soon found that the syllables in vernacular Chinese were out of tune with the old-style poetry forms. Some poets have used vernacular to adapt to the old sentence patterns, but it is difficult to meet the requirement that sentences have definite characters. The number of words in each poem is more or less, and it is often necessary to "learn from each other's strengths to make up for each other's shortcomings". There are two results: First, it destroys the natural syllables of the vernacular; One is to turn to classical Chinese vocabulary. For example, Hu Shi's butterfly is obvious. After a preliminary "attempt", Hu Shi also realized that the change of language symbols will inevitably bring about changes in form and means. He realized: "If you want to make a real new poem and make full use of vernacular words, vernacular grammar and vernacular natural syllables, you must make vernacular poems of different lengths." Liu Bannong also put forward the idea of poetic style reform: "Other Han people have the ability to write their own five-character poems;" Since the Tang people have the ability to write their own seven-character poems, can we not only write other kinds of poems besides five-character poems? " My view on literary reform.
As soon as the "experiment" stage is over, the new poetic style will blossom and bear fruit. Guo Moruo claims to be "the person who hates forms the most". His poetry breaks through all forms and pursues the inner rhythm of poetry and the natural syllables of vernacular. There is no trace of China's classical poetry in the poetry, language and form in Goddess. The poetry in Goddess is magnificent, full of momentum and passionate, which embodies the spirit of the May 4th Movement. And all this is the result of breaking the traditional form. It's really difficult to sing in such an ancient form. During Guo Moruo's period, the status of new poetry was established, and new poetry became the mainstream of poetry creation, while old poetry retired to a secondary position only by virtue of its great historical inertia.
Generally speaking, the vernacular poems that just started around the May 4th Movement are not mature in art, and the appearance of vernacular poems means that China's poems have got rid of the heavy classical Chinese shell and metrical form. In recent decades, the evolution of China's poetry has finally been completed. The achievement of modern poetry lies in the evolution of language and form. The huge gap is a remarkable feature of the development of modern poetry, and it is also the greatest pride of modern poetry.
The "Poetic Revolution" advocated by Liang Qichao and others rekindled the beacon of poetry reform. Liang Qichao pointed out with a unique sense of crisis of the times: "Unless there is a revolution in the poetry circle of Zhina, poetry will be doomed." "For thousands of years, the field of poetry has been occupied by celebrities who parrot. ..... So, it's enough not to write poetry today. If you write poetry, you must be Columbus Marcelo in the poetry world. "
In this important reform movement, the language symbol of poetry is a strong interest center. Progressive poets pay attention to, think about and explore this problem. The awakening of language problems that have been sleeping for a long time has a profound corresponding relationship with the great changes in society at that time. As the American philosopher Morris pointed out: "The highest interest in the study of symbols is in the period of universal social change" (Open Self). In the collision with western civilization, China society has undergone fundamental changes. With the influx of new things and ideas, a large number of new words and concepts are also input. Wang Guowei once said: "Japanese Chinese translated from Spanish has invaded our literary world with the power of gangsters" (On the Losers of New Language Learning). The emergence of a large number of new words has accelerated the changes of Chinese itself, and the difference between classical Chinese and social actual language is even greater. In the new active language system, the symbols of classical Chinese are more obsolete, the communicative function is weaker, and the requirements for reform are unprecedentedly strengthened. It is in this context that Liang Qichao and others can turn their attention to language issues. For the development of literature, this is a very important awakening of language consciousness. At that time, the creation of reformist poets showed two tendencies. One is the language pursuit of Tan Sitong and Xia Cengyou, whose characteristic is to put a large number of new words into poems. Because in the period of change, the new symbol system has not been established, and the new words they use are often not clear and extensive enough. For example, "If you are in pain, you will be better in Bibal." "Kasd", "Fa Hui" and "Balmen" in the two poems are all translated names. It is difficult for ordinary readers to understand such poems. Liang Qichao, starting from attaching importance to the communicative function of language, basically denied these poems and valued Huang Zunxian's other efforts. In terms of language, Huang Zunxian does not use too many new words in his poems, but insists on using "colloquial dialects". His negation of China's classical symbols is very clear. In Miscellaneous Feelings, he published a prominent opinion: "Popular Confucianism respects the ancient, and papers are increasingly studied. There is nothing in the six classics, and I dare not enter poetry ... I handwritten my mouth, how can I be detained? " Huang Zunxian's poems mostly express new realm and new things in popular language, which has a great influence for a while and is regarded as the most accomplished poet in the "poetic revolution". The two creative tendencies of the "Poetry Revolution" both try to break through the stale classical Chinese, so they are both beneficial efforts. In the past, people's evaluation of "new nouns expressing differences" in Xia and Tan's poems seemed too low, but it was Xia and Tan's efforts that gave a unique color to the reformist literary movement, which made it different from the poetic language popularization movement in history. The daily language in modern China is also undergoing rapid changes and updates. With the establishment of the new language symbol system, it will become more and more important to use "new words" into poetry, but it will coexist with the tendency of using "spoken dialects" into poetry and gradually merge.
However, the "poetic revolution" of Liang Qichao and others is as incomplete as their political reform. They only deal with the language of poetry to a certain extent, thinking that the old poetic style should be preserved, and their program is "to enter the old poetic style with new artistic conception and new sentences." Liang Qichao believes that if we can do this, we can become "the king of China poetry in the 20th century".
It was the advocator of the May 4th Movement who really became "Columbus in Poetry" and found the "New World" for China's poetry. The May 4th New Literature Movement broke through the limitations of the "Poetry Revolution", which not only completely replaced classical Chinese with pure vernacular Chinese, but also completely got rid of the old-style poetry, opening up broad prospects for the development of poetry.
19 15, Hu Shi, who was studying in the United States, and his friend Ren Shu Yongquan had an argument about whether new words could be included in poetry. The starting point is only the level of "poetry revolution". However, Hu Shi did not stop there. The argument with conservatives inspired his innovative consciousness, and he soon wrote vernacular poems. Others began to write vernacular poems at the same time or later. This is a brand-new attempt in the history of China's poetry. The poet's earliest pursuit is to write poems in the real vernacular, as the poet Lu Zhiwei said: "What I hope most is that people who write vernacular poems speak the vernacular first, write the vernacular, learn the vernacular, and whether they can write poems or not." (Talk about the rhyme of vernacular poetry again). The early writers of new poetry really got to the heart of the problem. When they carefully wrote poems in vernacular Chinese, they soon found that the syllables in vernacular Chinese were out of tune with the old-style poetry forms. Some poets have used vernacular to adapt to the old sentence patterns, but it is difficult to meet the requirement that sentences have definite characters. The number of words in each poem is more or less, and it is often necessary to "learn from each other's strengths to make up for each other's shortcomings". There are two results: First, it destroys the natural syllables of the vernacular; One is to turn to classical Chinese vocabulary. For example, Hu Shi's butterfly is obvious. After a preliminary "attempt", Hu Shi also realized that the change of language symbols will inevitably bring about changes in form and means. He realized: "If you want to make a real new poem and make full use of vernacular words, vernacular grammar and vernacular natural syllables, you must make vernacular poems of different lengths." Liu Bannong also put forward the idea of poetic style reform: "Other Han people have the ability to write their own five-character poems;" Since the Tang people have the ability to write their own seven-character poems, can we not only write other kinds of poems besides five-character poems? " My view on literary reform.
As soon as the "experiment" stage is over, the new poetic style will blossom and bear fruit. Guo Moruo claims to be "the person who hates forms the most". His poetry breaks through all forms and pursues the inner rhythm of poetry and the natural syllables of vernacular. There is no trace of China's classical poetry in the poetry, language and form in Goddess. The poetry in Goddess is magnificent, full of momentum and passionate, which embodies the spirit of the May 4th Movement. And all this is the result of breaking the traditional form. It's really difficult to sing in such an ancient form. During Guo Moruo's period, the status of new poetry was established, and new poetry became the mainstream of poetry creation, while old poetry retired to a secondary position only by virtue of its great historical inertia.
Generally speaking, the vernacular poems that just started around the May 4th Movement are not mature in art, and the appearance of vernacular poems means that China's poems have got rid of the heavy classical Chinese shell and metrical form. In recent decades, the evolution of China's poetry has finally been completed. The achievement of modern poetry lies in the evolution of language and form. The huge gap is a remarkable feature of the development of modern poetry, and it is also the greatest pride of modern poetry.