I firmly support "no rhyme, no poem". However, I think "rhyme" here refers not to rhyme, but to rhythm, that is, musicality. There is no complete correspondence between rhyme and rhythm. A lame but rhyming limerick [1][2] has rhyme but no rhythm. Many ancient poems, such as those on the towers of Youzhou, have lost their rhythm when read in Mandarin, but they can still be felt.
My favorite modern poem is Mr. Dai Wangshu's Rain Lane. I must read it, not just read it. In the process of reading, you will find that your mouth, your teeth and your tongue are doing a regular movement, and you can really feel the poem flowing between your lips and teeth. This is the first time I feel the texture of poetry. That wonderful feeling, sorry, I can't express it accurately. There is a passage in Nabokov's novel Lolita that describes the word "Lolita" as the most beautiful pronunciation, which can roughly express my feelings.
My favorite contemporary poems are Haizi's Spring Facing the Sea and Gu Cheng's Generation. It is said that Face to Face is not Haizi's first-class poem, but I just like it. He used unexpected sentences to express everyone's feelings, which I think is the essence of the poem. There is almost no rhyme between these two poems, but I think they are both rhythmic. Later, some musicians sang these two poems separately [3][4], which is also evidence of their musicality.
Modern poetry, I think, has not yet formed a fixed and mature form. Everyone is showing their magic, and at the same time they are crossing the river by feeling the stones. And it may be the reason of the big environment. Everyone's enthusiasm for exploring the form is far higher than the breakthrough of the content. Of course, it is also possible that people are too high-end. We don't understand that many modern arts are indeed very advanced in form, far beyond our understanding of daily life [5].
As for the pear style, if you have read Zhao Lihua's early poems [6] and her evaluation of Qing Wu [7], you will find that she is at least a serious poet, and she has her own serious thoughts on poetry. Pear style may be a failed attempt, but it doesn't mean it is worthless. At least, when we know where we can't go, we know which direction we should go.
Of course, as an ordinary reader. My greatest hope is to see the vast number of poets find a relatively fixed and less avant-garde form, pursuing the harmony of external rhythm and the exquisiteness of language, and the breakthrough of internal content and emotional singing.
I didn't expect to write so much by accident. I'm so proud. I bought a family bucket and took it away at noon to treat myself ...) Note: