Why are China's new poems in an awkward position?

Li Changkong and China are the kingdoms of poetry. It can be said that it is magnificent from the words of Shang Dynasty on Thursday to Chu Sao Han Fu, Han Wei Yuefu, Sui, Tang and Song Ci Yuan Qu. Thousands of years ago, Huang Lu still lingered in the sky: Qu Zi, San Cao, Li Qinglian, Bai Tianle, Li Yu, Su Dongpo, Li Qingzhao, Ma Zhiyuan ... The names of shining poets and songwriters are deeply engraved in our hearts; The Book of Songs, Songs of the South, Ancient Poems, Sandu Fu, Short Songs, Difficulties in Shu Dao, Li Shihao, When Will the Moon Be Bright, Autumn Moon in Spring Flowers, Qiu Si in Tianjingsha ..... they all shine in the past. Although China's classical poetry has had many glories, China's new poetry has encountered unprecedented embarrassment nearly a hundred years after its birth: it failed to meet the international standards, broke away from the fine tradition of China's classical poetry, and became an abandoned child that mother and grandmother did not love, which made readers sigh and finally had to be abandoned. So, why are China's new poems in an awkward position? I think there are at least the following reasons: first, the construction of aesthetic norms is not in place, and even the aesthetic knowledge is not in place. The ancients called poetry verse, and all other styles that didn't rhyme were collectively called prose. No matter whether it is the "ode to elegance" in the Book of Songs, or the songs of Chu, Yuefu, Rhyme, Song and Yuan, no matter how their poetic forms evolve, they all pay attention to rhythm, and their works are beautiful in rhythm, melody and rhyme. Because vernacular poetry is "informal, informal, flat and long; What topics are there and what poems to write; Poetry should do what it should do "(Hu Shi's On New Poetry) has become a serious drawback and obstacle to its development since its birth. It is beneficial to overemphasize the freedom of creation, thus denying the significance of prosodic norms and separating the connection between fine traditions and modern poetry art, but it is useless and harmful to the inheritance and development of poetry art. "Free poetry" is disorganized and often turns into saliva or side prose, which makes readers feel at a loss and can only sigh. Secondly, it is because some poets blindly emphasize the form of poetry and ignore the theme. Poetry is the expression of formal beauty, but formal beauty is just a beautiful coat of poetry. Too much emphasis on the form of poetry, thinking that it is not the theme that determines the form of poetry, but that the form of poetry is above everything else, and the form is also the content, thus denying the significance of the theme, such as the so-called technicalism, metaphysics, cubism, constructivism, Dadaism, surrealism, futurism and so on. In recent years, out of the theme form, it will surely wither like a seedling without soil. Because the materials that formalism deals with can only be the appearance of life, narrowness, extremes, paleness and exhaustion are its inevitable products. Therefore, in the perfect framework of poetry, there should also be a flexible "poetic soul", which must also have full feelings and rich imagination and reflect social life in a highly concentrated way. Lv Jin, a famous poetry critic, defined poetry as "poetry is the highest language art in singing life, and it is usually the direct writing of the poet's feelings." "This makes sense. Instead of reading poems such as technical poems, image poems and machine poems, without the guidance and support of elegant thoughts and sincere feelings, it is better to face the stones in the valley, because "poetry products" are lifeless. For the perfect art of poetry, the primary factor is that the poet has a heart that loves life and is sensitive to the form of poetry. Thirdly, it is caused by the retreat, autism, loss of values and pursuit of fame and fortune of contemporary poets in the era of commodity economy. Compared with classical poetry, contemporary poetry has undergone obvious changes in theme and content: 1. Due to the great comprehensive pressure of social existence and the spiritual confusion caused by the progress of material civilization, the thinking of social problems has been less and less concerned by contemporary poets, and the content of contemporary poetry has become more and more limited to private things. Zhengri is losing its artistic ability to deal with major social themes (Olympic poems and earthquake poems are exceptions), which makes it less and less easy to get public attention, while only a few souls who are not materialized in modern society get bosom friends, and it becomes their spiritual weapon to resist the suppression of life vitality in the real world; 2. As poets retreat from social and cultural centers, science and technology heroes, business heroes and entertainment heroes replace the central position of artists, and poetry is increasingly pushed to the edge of society. Poets become a strange group of self-isolation, self-affirmation, self-satisfaction, self-comfort and self-narcissism, which further intensifies their autistic tendency, and entertainment, decoration and self-consumption become the center of contemporary poetry; 3. Poetry should have a belief, a spiritual connotation and strength to inspire people to progress. Many poems don't have these now. When the poet's spiritual value has changed from lofty, pure, beautiful and natural to noisy, fun, vulgar and fashionable, mediocrity puzzles the poetry circle, ordinary people are confused and speechless, and kitsch people compete for the star effect. Only a few wise people are there, resisting, struggling and holding on to their weaker and weaker positions in the highland of poetry with the ignorant spirit of knowing what not to do. 4. In order to seek fame and gain profits, many poets write poems without thinking and making progress, blindly bringing forth the new and grandstanding, blindly catering to the trend and low taste, so that vernacular poems (such as pear-shaped poems, lamb-shaped poems and drooling poems), rhubarb words (such as garbage school and lower body), big slang words (such as avant-garde poems and obscure poems) and big gray words (such as nothing) Finally, it is caused by the lack of insightful poetry critics and misleading poetry editors. In recent years, the so-called poetry critics have neither studied nor created. They only pieced together what others said with one or two narrow and cultured ideas, and even made random assumptions with "inspiration" behind closed doors. They have infiltrated into publications and even the Internet, using their jargon, mixed words or groundless exaggeration to interfere with the present situation of poetry: they will be popular in foreign countries in the future. Stir-fry images for a while, and stir-fry language for a while; Stir-fry for a while, stir-fry, stir-fry for a while; I will overthrow all these later, and then tell you that poetry has no standard, no bottom line, and so on, so that poets and readers don't know how to adapt. However, many poetry editors who have the power to publish newspapers and books, due to lack of independent views on poetry art and vision for the healthy development of poetry, or in order to expand the circulation of publications, failed to do their duty of correctly guiding poetry writers and readers, and danced with "poetry critics" consciously or unconsciously, which led poets to fall into the misunderstanding of creation, or to linger on because of catering to the authoritative tendency of poetry critics and poetry editors, or to the extreme of being divorced from the public, which also made poetry readers.