Their poems accepted the realistic tradition, reflected the social reality at that time in many ways, and corrected the problem that symbolism was too divorced from the reality of life ("poetic historical consciousness"). At the same time, in the artistic skills of poetry, they actively learn to adopt European and American modernist expression techniques, such as "anti-theory" ("you have given us rich and rich pain"-Mu Dan) and so on ("drama poetry").
In modern and contemporary China, the Nine-leaf Poetry School has obtained the most dramatic essence of western poetry, which is reflected in the modern creative practice text of China's new poetry; There are also many scholars who associate dramatization with the modernization of China's new poetry, such as Sun and Tan Guilin, but their cognition has not reached the height of biased linguistic thinking, so it is naturally difficult to solve the problem of absorption and China of dramatization. In fact, the imagization of China's poems does not exclude drama, but drama is subordinate to imagization. In China's poems, the contrast techniques such as reality, movement, and the combination of positive and negative images have a strong dramatic effect. Therefore, it is very beneficial for China's new poetry to absorb the dramatic elements of western poetry and enrich the new quality of China's new poetry. However, if dramatization is the highest goal of modernization, China's new poetry may be difficult to compare with Spanish poetry. We should be soberly aware that the imagery of China's poetry and the dramatization of Spanish poetry are the strengths of Chinese and Western poetry, which are in line with their respective linguistic thinking bias. Here, my strength is the weakness of others, and my weakness is the strength of others, which is determined by the differences between Chinese and Spanish. Even in modern Chinese, there is no fundamental change. We can neither artificially oppose the two, create obstacles to learning and communication, nor "make foreign things serve China" vividly. Of course, we can look at the essence of western culture rationally now, and our concept has changed from "making foreign things serve China" to "making foreign things serve China", but this gratifying situation is far less than that in the economic and political fields. Rilke is undoubtedly a poetic peak in the west, and it is also worshipped and sought after by many people in China. Should be very nutritious. However, if we put Rilke's different poetic views of "emotion" and "experience" into China's poems, that is to say, the emotion and experience of Spanish thinking bias will be transformed into that of China's thinking bias, which is not new. They are just two drops of water in the poetic view formed by Tang poetry and Song poetry. It is true that both China's view of poetry and the western view of poetry are inevitably influenced by their own linguistic thinking bias, and the analysis of a certain view of poetry cannot but be traced back to the source. Rilke's poetic view of "experience" embodies Spanish thinking bias and one-sidedness, and is the inheritance and development of western traditional poetic imitation theory. From material imitation to spiritual imitation. Conceptually, its pursuit is to summarize the essence of objective things with poetry, that is, the objectification of poetry, which can be summarized as "perceptual thinking" and is the mainstream of western tradition. From the perspective of poetry, there is a great difference between Rilke's poetry and China's poetry. The former is reasonable, the latter is reasonable. Therefore, to interpret Rilke's poems with "harmony between man and nature" is more like to interpret western paintings with the charm of Chinese painting. Can the poet Rilke really be objective? From the view of the universe that regards man as an object, man's subjectivity is also objective, but when man faces objectivity as a subject, there is not only pure formal objectivity, but also subjective objectivity. Scientists should verify the former, and the latter is the world of poets. In fact, any objective thing must be grasped and named by human consciousness in order to establish contact with people. This process inevitably left a subjective mark. Poetry should be a life experience beyond self, but the objectification of poetry will not be the goal that scientists face. Rilke's "leopard" will always be Rilke's subjective "leopard", and the spirit embodied by "leopard" is first and foremost Rilke's spirit. Just because others don't have this "leopard" spirit doesn't mean there is no leopard spirit. In the "unity of things and me", what Rilke can do is only the unity of things and me in consciousness, which has a certain gap with his poetics, but it is essentially similar to the "unity of things and me" in China's poems. The western symbolism and imagism of "perceptual thinking" have subverted the intellectual tradition of western poetry. This deviation from tradition is rooted in the emotional swing of Spanish thinking prejudice. Although it is still the thinking bias of Spanish, it is closer to the thinking bias of China, and the gap between writing practice and poetry view is not too big. Their imagery poems are not the same as those in Chinese, mainly because of their poetics, but because their thinking is biased towards western languages. Rilke is nutritious, but we should know that in China's poems, "experience" is not the opposite of emotion, but the wealth of emotion, and poetry can never be separated from emotion. Therefore, when you enter Rilke but can't leave Rilke, you enter a dead end of poetry, not a smooth road. "Nine Leaves Poetry School" advocates "drama poetry", while Wang Zengqi opposes "drama novel", which is closely related to their artistic pursuit and proposition, and is also a manifestation of their artistic exploration and innovation. "Drama Poetry" is the main scheme put forward by "Nine Leaves Poetry School" to realize the modernization of new poetry, and the drama principle is put forward in view of the tendency of "sentimentality" and "preaching" popular in the literary world at that time. Its purpose is to seek the objectivity and indirectness of poetry expression. The theoretical premise of the proposition of "poetic dramatization" is that modern life is becoming more and more complicated and people's consciousness is full of more conflicts. To capture and express this reality of life, a single sentimental lyricism or empty preaching is powerless. Therefore, it is necessary to expand the expression of poetry and let it incorporate more factors in order to give full play to the enlightenment of poetry to human consciousness. In short, the purpose of poetic dramatization is.
Wang Zengqi emphasizes a simple and clean life, and his novels pay little attention to plot and characterization. The main pen and ink of his novels focus on the description of customs and habits and the superb skills of skilled craftsmen, and attach importance to an atmosphere or atmosphere of the novel, forming the style of the so-called lyric novel. The ups and downs of the novel's plot are an important manifestation of drama, which is obviously inconsistent with his pursuit. In addition, drama also contains contradictions and complexity, which is contrary to Wang Zengqi's simplicity and clarity.