Wen Yiduo, right?
An important poetry school in the history of modern new poetry. This poetry school is generally divided into two periods with 1927 as the boundary. The early stage started in the spring of 1926, based on Beijing's "Morning News Supplement? Poetry". The main members included Wen Yiduo, Xu Zhimo, Zhu Xiang, Rao Mengkan, Sun Dayu, Liu Mengwei, etc. They were dissatisfied with the style of "free poets" who ignored poetic art after the "May 4th Movement", advocated new metrical poetry, advocated "rational restraint of emotion", opposed sentimentalism and the prose tendency of poetry, and questioned the rhythm of new poetry from theory to practice. have been carefully explored. Wen Yiduo put forward the famous "Three Beauties" proposition in "The Rhythm of Poetry", namely "the beauty of music, the beauty of painting, and the beauty of architecture". Therefore, the Crescent School is also called the "New Metrical Poetry School". The Crescent School corrected the weakness of excessive prose in early new poetry creation, and also brought new poetry into a period of conscious creation. In the spring of 1927, Hu Shi, Xu Zhimo, Wen Yiduo, Liang Shiqiu and others founded the Crescent Bookstore, and the following year founded the monthly magazine "Crescent". The main activities of the "Crescent School" moved to Shanghai, and this was the later period of the Crescent School. It takes the "New Moon" monthly magazine and the "Poetry Magazine" quarterly magazine founded in 1930 as its main positions. New members include Chen Mengjia, Fang Weide, Bian Zhilin, etc. The late Crescent School put forward the principles of "health" and "dignity", and still adhered to the position of "pure poetry" that is ultra-utilitarian, self-expression, and aristocratic, and emphasized "the mellowness of essence, the meticulousness of technique, and the rhythm of rhythm." Rigorous", but the artistic expression and lyrical style of poetry are close to those of modernism.
The beauty of music in the "Three Beauties" refers to the fact that each stanza of Crescent Moon Poems has a different rhyme, just like music. Architectural beauty means that the format of the poem is like architecture. The beauty of painting refers to the fact that each stanza of Crescentist poetry is a picture that can be painted.
"Dead Water" is Wen Yiduo's masterpiece. The poet compared the dark and corrupt reality of old China to "a ditch of hopeless stagnant water", expressing his hatred of the ugly forces and his deep love for the motherland. The last stanza of the poem shows that on the one hand, he has no illusions about darkness and firmly believes that ugliness cannot produce beauty; on the other hand, he is not despairing. "It is better to let ugliness take over" is an angry statement. Zhu Ziqing wrote in "The Complete Works of Wen Yiduo" "Preface" said: "It is simply to let the 'ugliness' become full of evil earlier, so that there is hope in 'despair'." There is hope in despair, and the fire of patriotic enthusiasm is instilled in the coldness. This is The ideological characteristics of the poem.
"Dead Water" is also Mr. Wen Yiduo's "first and most satisfying experiment in syllables", and is a typical example of Mr. Wen Yiduo's experiment with his "Three Beauties" new metrical style. The whole poem has five stanzas, each stanza has four lines, and each line has nine characters, which are composed of three "two-character rulers" and one "three-character ruler" respectively, forming 2232 or 2322 or 3222 musical rulers, and finally ends with a double syllable. At the end, although the arrangement order of the scales is not exactly the same, the total number is exactly the same, and they remain neat and orderly in the changes. They are uneven and mixed with cadences. Each stanza changes rhyme, and each stanza generally rhymes with two or four rhymes of abcb type. The pronunciation It sounds catchy, has a strong rhythm, and has a musical beauty. The poet is like "dancing in shackles", but he dances so easily and with harmonious rhythm, which is really amazing!
In addition, the poem draws on the irony method of modern Western poetry and the artistic principle of "taking ugliness as beauty". The middle three stanzas of the poem unfold rich imagination, trying their best to fully paint the ugly things inside the stagnant water with beautiful appearances ("Emerald", "Peach Blossom", "Luo Qi", "Yunxia", "Green Wine", "White"). "Foam"), with bright colors and loud sounds, satirizes the dirty, musty, gloomy and silent stagnant water. The contrast between beauty and ugliness creates a refreshing artistic effect.
Appendix: "Dead Water" (Author/Wen Yiduo)
This is/a ditch/desperate/dead water,
The breeze/cannot blow/ Half a point / Yi Lun. (rhyme)
Not as good as/more broken copper/rotten iron,
Just throw your/leftovers/leftovers. (rhyme)
Maybe the copper/copper will turn green into emerald,
A few petals/peach blossoms will be embroidered on the iron can. (rhyme)
Let / greasy / weave a layer of / Luo Qi,
The mold / give him / steam out some / clouds. (rhyme)
Let the stagnant water ferment into a ditch/green wine,
filled with pearl-like foam; (rhyme)
The small beads/laughter/became/big beads,
and were bitten by/the wine-stealing/flower mosquito/. (rhyme)
Then / a ditch / hopeless / stagnant water,
only / can be climbed / somewhat / clear. (rhyme)
If/frog/cannot bear/loneliness,
It is considered that/dead water/sings out/singing. (rhyme)
This is a / ditch / hopeless / stagnant water,
This is definitely not where the beauty / is, (rhyme)
It is better to / let Let / ugly come / to reclaim land,
Watch what / world he / created.
(rhyme)