Characteristics of poetic schools
Judging from the evolution of the internal aesthetic mechanism of poetry, the construction of poetic beauty of modern poetry school is the inheritance and transcendence of the symbolic character of early symbolic poetry school, and its poetic core is symbolism. They are good at transcending the surface world of the object and conveying various subtle personal feelings with the help of perceptual counterparts and suggestive symbols in the process of subject-object integration and two-way assimilation.
From the content point of view, modernist poets follow the creative style of western modernist literature, trying to fully express the poet's inner feelings rather than the real world. The theme of poetry comes from the basic spirit of western modernist literature: hesitation and loss. This theme is fully expressed in Dai Wangshu's poems.
As far as poetic skills are concerned,
Modernism inherits the emphasis of early symbolism on "pure poetry", "fit" and "hint", and draws lessons from French symbolism.
However, the modern school of poetry excluded the blind copying of western symbolism poetry images, and integrated western symbolism with China classical poetry images, which not only made the poetry images have distinct China characteristics, but also organically combined relatively independent image units with the subject's life perception, forming the overall image beauty of poetry.
An important school of poetry in the history of modern new poetry is generally divided into two periods by 1927. The early stage started from the spring of 1926, and the main members were Zhu Xiang, Rao Mengkan, Sun Dayu, Liu Hewen Yiduo and Xu Zhimo.
They were dissatisfied with the style of "liberal poets" who ignored the art of poetry after the May 4th Movement, advocated new metrical poetry, advocated "rational restraint of emotions", and opposed the disorderly and prosaic tendency of poetry, and made a serious exploration of new metrical poetry from theory to practice.