From the beginning of vernacular poetry, the "vernacular" poetry from the perspective of language has jumped out of the formal barrier, right? What is the complexity of the iterative process of the development of new poetry? It is difficult for us to see a linear development process from the 30 years of modern literature. If so, it may be possible from the perspective of the development of poetic beauty. From the perspective of breaking the old style, vernacular poetry emphasizes poetry as a composition, so oral English is more important. Whether Hu Shi's Collection of Attempts or Liu Bannong's masterpiece separated by a layer of paper, Zhou Zuoren's River, known as China's first new poem, or Shen's Moonlit Night, it is difficult to talk about the beauty of poetry today. When he arrived at the Crescent Poetry School, Wen Yiduo began to pay attention to the "three beauties" and the form and norms. It is precisely because form and content are an inseparable and unified organic whole that the thought of Crescent Poetry School has played a normative role in the development of new poetry. In Li Jinfa's Abandoned Wife, the ingenious combination of literature and prose embodies the aristocratic tendency of poetry and emphasizes the leap of thinking in images. "Worries about abandoning his wife piled up in action."
Therefore, form and content are inseparable. Good form is conducive to the expression of content, and good content makes good form valuable. In actual creation, we can't deliberately separate and unconsciously combine unity in our works.