Before 1927, this school was a group of poets whose basic position was "poetry engraving" in Beijing Morning Post Supplement. The main poets are Xu Zhimo and Zhu Xiang. In view of the excessive overflow of emotion in poetry and the unrestrained lyric way, the school put forward the aesthetic principle of "rational restraint of emotion" and the proposition of poetic form rhythm.
The works that best reflect his style are Dead Water and Discovery.
Ai Qing (Free Poetry): a conscious advocate of free poetry. Ai Qing said that free verse is "the product of the new world", "less restricted by metrical rules, more convenient to express thoughts and feelings, and larger in capacity-more suitable for the violent and turbulent times". Therefore, his poetic style is characterized by the harmony between unrestrained and restrained, that is, to achieve unity in change, harmony in mistakes, balance in movement and simplicity in complexity. In form, his poems don't stick to appearance, and don't pay much attention to rhyme or the unity of words and lines. Instead, they use regular parallelism and repetition to create unity in change and harmony in irregularity.
The works that best reflect his style are Big Yan He-My Nanny and Snow on the Land of China.
Liu Dabai (Early Vernacular Poetry): a talented poet in the "transition between the old and the new" during the May 4th Movement. His most outstanding contribution is that he first realized the transition from old-style poetry to new poetry and became one of the pioneers of the new poetry movement in China. The artistic features of his old-style poems mainly include: advocating vernacular Chinese and adding new words into poems; Most of his poems are "my realm", and he is good at melting the poet "I" into nature and strengthening the subjective modality of mountains and rivers through "personification". It is advocated that the "reason" of poetry should be lyrical and vivid.
The works that best reflect his style are Death of a Tiger and Surprise.