Modernist poetry, modernist poetry.

Modernist poetry-not all of it, of course-obviously places too much emphasis on objects and images, but ignores or lacks emotions and thoughts. This is by no means an incomplete beauty of art, but an incomplete art. In the subway station, it is like two bones drawn from the whole, or an unfinished blank. The same is true in practice. It is said that Pound has written many manuscripts on this topic, the longest one has written more than 30 lines, and only these two lines are left in the end. Because there are only two lines, Pound said it was based on Japanese haiku. However, both Japanese haiku and China couplets focus on expressing the author's feelings and thoughts, which is what Subway Station lacks. The same is true of W.C. Williams' famous poem The Red Cart (so dependent on a red cart | shining in the rain | there are some white chickens nearby). The sentence is a good poem, four lines, which looks like the quatrain of Tang poetry. But I don't think it's a complete poem. It's good to make a blank picture. It is said that this poem is written in imitation of China's quatrains. The author carefully modifies and compares the three images of "car", "rain" and "chicken". It can be seen that the antithesis and rhythm pursued in the poem have the classical beauty of China's quatrains, but the "emotion" of China's ancient poems is not found in the poem, and neither "xing" nor "sentimentality" can be found. This is like Ye Gong painting a dragon, very vivid, but lacking the finishing touch. However, this may be the characteristic of imagist poetry, deliberately omitting what should be "wonderful" later. But how would we feel if there were no following sentences: "The mountains cover the daytime, and the sea drains the golden river" and "The incense burner in Rizhao rises purple smoke, and the waterfall in front of the river hangs"? Who can say that the first two sentences have no poetry and imagery, but the significance of these two ancient poems by China lies in the last two sentences. Therefore, the tentative poetry writing modes of In the Subway Station and The Red Carriage should be criticized. I say these two poems are tentative writing, because the two masters themselves clearly say that they imitate the poetic writing of Japan and China, which can only be said to be a tentative writing; It should be criticized not only because the two masters didn't really realize the external mechanism and internal significance of oriental poetry, but more seriously, this writing method abandoned the power of poetry-the meaning of "xing", fantasized about using words as pigments, simply pursued the visual effect of painting, and deliberately created a kind of incomplete beauty. What was incomplete was the heart and blood of poetry, which only made poetry empty and lacking blood. Avoiding the long and short, backing the foundation and chasing the end can only lead to the incompleteness of poetry itself and narrow the road of poetry. This model of poetry, no matter how well written, can only be regarded as unfinished writing, which is a blank in poetry. Readers will not accept and love this meaningless semi-finished poem. Just like the examples of the above two poems, even the works of masters have not escaped the fate of being left out by readers. They still exist because they can only be displayed as a model in the archives of modernist poetry for people in the field of poetry to conduct academic research. Why is the momentum of modernist poetry strong in the early stage, but increasingly bleak in the middle and late stage? Facts have proved that the fundamental reason is that poets advocate this trend of clinging to the disabled. Baudelaire, the originator of modernism, rarely had such defects. His Flowers of Evil describes all kinds of morbid people in the city, such as drunkards, prostitutes, drug addicts, murderers and suicides. These images are all "residual flowers" in the city. It is by taking advantage of the "incompleteness" of these characters that he clearly expresses the poet's spiritual tendency-what poetry should and must convey to readers-that is, the images expressed in poetry are incomplete, but poetry must be perfect. This is the true meaning of incomplete beauty.