Ta Kung Pao Special Issue on Literature and Poetry (1935165438+1October-1July 937) edited by Liang was an important special issue on poetry in the 1960s. This magazine intentionally advocated and experimented with "discovering new syllables and creating new metrical patterns", which reflected an important aspect of the development of China's new poetry at that time. Different from the "new metrical poems" in1920s, they intend to break the situation that China's new poems are exclusive to "free style", rebuild the writing strategy of China's modern poems through the discussion and creative practice of "metrical" and "musicality", and discover, recognize and apply the unique musicality of modern Chinese, with a view to forming an old poem that takes into account the language characteristics of modern Chinese.
Key words: Ta Kung Pao, special issue of literature and art, poetry, Liang, new poetry meter.
1935165438+1October 8th, a new special issue of Ta Kung Pao Literature and Art was published, which is planned to be published twice a month and edited by Ren Liang, a famous poetry theorist and translator. From June 1935, 1 1 to July 1937, Ta Kung Pao (Tianjin Edition) was closed due to the fall of Peiping and Tianjin, and Poetry Special was published in 24 issues, which became1968+0930s. In this special issue, Liang, Zhu Guangqian, Luo Niansheng, Sun Dayu, Lin, Bian, He Qifang, Chen, Sun Yutang, Cao, Li Guangtian, Chen Mengjia, Nan Xing, Feng Zhi, Zhou Xuliang, Dai Wangshu, Xin Di, Fang Jing, Li Jianwu, Shen Congwen, Zhao Luorui and Fang Jing. Its writing lineup is luxurious and huge, and the discussion atmosphere is quite warm and spectacular.
The achievements and contributions of Poetry Special Issue are various. The investigation of this paper only focuses on one of the discussions about "syllable" and "meter" of new poetry. Although the discussion was not actually completed due to the fall of Peiping and Tianjin, the suspension of newspapers and periodicals, and the transfer of personnel, this theoretical discussion and creative experiment, which lasted for nearly two years, has historical value that cannot be ignored. In this great discussion initiated and organized by the editor, the syllables and metrical problems of new poems have been discussed and emphasized in depth, and a number of related works have been born.
The problems involved in this discussion constitute a major innovation in the concept of new poetry to a certain extent.
In the inaugural issue of Poetry Special Issue, Liang, as the editor-in-chief, delivered a "speech" entitled "The Crossroads of New Poetry".
In this article, he conspicuously put forward a view that new poetry "has reached the crossroads of differences." We seem to have reached a crossroads of differences, he said. The creation and future of new poetry will take precedence over our choice and trend. One is self-poetic, parallel to the modern free poetry movement in Europe and America, or simply a tributary of this movement, that is, a tributary in the long and vast history of poetry, at the end of the western ocean. This is a shortcut, but it is also a dead end with no prospect. However, if we are not satisfied that our efforts are so insignificant and the possibility of our activities is so limited, then it seems that we can and should trace back to the historical origin of modern western poetry, keep pace with the new poetry movement in European Renaissance countries, such as Dante in Italy and Seven Star Society in France, and set a lofty goal for our movement, a goal that can have endless development and endless future.