The most native literary language, special functions:
A, lyricism, close to music that depicts small functions.
B, organic information system, a word, can produce magical effect. Such as "Zhu Men" in the "Zhu Men", became synonymous with the ruling class, there are many meanings, as well as the author and the reader's feelings.
C, independent aesthetic value, can play. Novels can leave the language behind and retell the story, while poetry can not leave the language. D, the general requirement is to express the psychological feelings of the personality,
Specific requirements are four: First, polysemy, both surface meaning and deep meaning. The main use of symbolism. Such as pine, plum, snow and bamboo, the Great Wall, lilies and so on. Traditional symbols are too rational, forming a rigid set. There are also hints, puns, euphemisms and so on.
The second is jumping, more than any genre language. Because the expression of rapid mental activity. Don't any prepositions, conjunctions and other medium - related words. Such as "the sound of chickens thatched store moon, people traces of boardwalk frost". Can also be logical confusion, arbitrary interlacing. Such as time and space intertwined. Such as "back time love" in the poet and the ancient beauty of love.
Third, perceptibility, to have a sense of color, three-dimensional and concrete (abstraction into concrete). There is a picture in the poem.
Fourth is musicality, both intrinsic musicality, i.e., the rhythm of emotions, and extrinsic musicality, i.e., the refrain of sound (rhyme, rhythm and tone). It acts as a kind of moderation of raw emotion. Rhythm is the determining factor, the rhythm of things and human physiological rhythm - the regulation of respiration and the feeling of movement is reflected, is the group of tones and pauses in a regular arrangement. A word has one syllable, and monosyllables, disyllables or polysyllables with independent meanings form a group, each followed by a long or short pause. Ancient poetry: pentameter "two, two, one". New poetry is free and open, unique and creative, and there is a pattern in the changes.
The earliest poems can be sung, poetry is not divided. The lyric poetry of primitive peoples, the main nature of music. China since the Sixth Dynasty, Shen Yao wrote the "four sound score", poetry from poetry began to differentiate. However, there are still differences between poetry and music. Many Tang poems have been composed and sung. The role of musicality in poetry is to play a restraining role on raw, hard and strong feelings, to transform them into a regular movement, to deepen the poetic flavor, to arouse the reader's aesthetic attention, and to put some practical and non-poetic ideas out of the way. Inner musicality is the rhythm of inner emotions, i.e. high and low, long and short, fast and slow. The external musicality is mainly expressed in the loop of sound, which can be described as a kind of proportionality of numbers. Mainly:Rhyme is to make a syllable rhyme with the same or similar rhyme at the end of the relevant stanzas. Rhyme should be treated with an open mind, respecting the poet's artistic pursuits; it may or may not be used as long as it perfectly conveys the inner emotion. Unrhymed psalms can be made musical by other means, such as the arrangement of lines.
The first step is to choose a rhyme. Rhymes of the same kind form a rhyme scheme. Nowadays, there are thirteen ruts, i.e., thirteen categories: Middle East, Renchen, Jiangyang, Yanqian, Fahua, Huailai, ash heap, Yaojiao, Yauji, Sobo, Yichi, Gusu, soxie, etc. Each rhyme section has a part of pronunciation, a degree of opening, and a degree of opening. Each rhyme part of the pronunciation part, the degree of opening is different, the tone range is different. Some of them are high in loudness, exuberant and exuberant, such as Jiang Yang and Fa Hua. Some of the loudness is low, bitter, heavy, such as ash pile, a seven and so on. To choose a rhyme, because of the mood, because of the mood change rhyme.
The second is to change the rhyme. Longer poems, the flow of emotions change, which should be reflected in the form of voice. If a rhyme to the end, easy to give people monotonous, fatigue. Turning rhyme can make the gas a revitalization. Such as "Spring River and Moonlit Night", four lines of a rhyme, flowing, euphemistic and lingering.
Rhyme again. Mainly have a line rhyme - each line are betting, spaced rhyme - in ancient times there are "one, three, five regardless of, two, four, six clear" requirements, with rhyme - two lines of a change, such as albatross, cross rhyme --The first line rhymes with the third line, and the second line rhymes with the third line. Others include clasp rhyme, where the first line rhymes with the fourth line, and the second line rhymes with the third. This is the authentic rhyme scheme of the Western sonnet.
Tone The change of pitch and length in the process of pronunciation. Shen Yao's Four Tones was the earliest study of this issue. New poems can only pay attention to just. Especially when reciting poetry needs.
Rhythm This is a musical term, and is the decisive factor in the external musicality of poetry. In nature and in life, everything has a rhythm. The rhythm of poetry is a reflection of the rhythm of things and the physiological rhythm of man - the regulation of breathing and the feeling of movement. Poetic rhythm is the regular arrangement of groups of sounds and pauses. In Chinese, a word is usually a syllable, and monosyllables, disyllables or polysyllables with independent meanings form a group, each followed by a long or short pause.
The rhythm of ancient poems: "two, two, one" in pentameter; "two, two, two, one" in heptameter. Rhythm of new poems: free and open, unique creation; each line is roughly equivalent, with regularity in variation.
Poetry in lines
The new poems do not have the fixed musical regulations of the ancient poems, but introduce the western lines to strengthen the sense of rhythm and melody to achieve the effect of musicality. A. The lines are adapted to the mood of the poem in terms of length, sparseness and unevenness. The lines follow the inner rhythm of poetry - the rhythm of emotions - and their shape is a structural form that visualizes and displays the inner emotions. Whitman expresses the pioneering, bold, free and romantic emotions of the founding of the nation, and the lines are long, as if they were the vast expanse of the New World frontier. Mayakovsky expresses the dramatic changes of the October Revolution, and the lines take the shape of a staircase, with great ups and downs and jaggedness.
B. The use of ellipses and jumps in poetic lines, which are more random, creates new structural meanings. For example, the juxtaposition of the upper and lower lines of the poem produces a new meaning: "Juman's door stinks of wine and meat, and there are frozen bones on the road".
C. Branching turns visual intervals into auditory intervals, showing rhythm. This is the effect produced in reading. Reading them together does not show rhythm.
D, The division of lines draws aesthetic attention to the poem and allows one to appreciate it with the psychology of a poem.
Requirements: A. Pay attention to the organic combination of line and line. The key is across the line - a sentence takes up more than two lines. This is to pause and focus attention on the next line - emphasizing the most valuable and glorious language.
B. Branching lines are evolving and should be original. For example, the traditional mood patterns change into pictograms and congruent patterns. C. The branching of the poem attaches more importance to the visual effect, from "auditory art" to "visual art". This is because the inherent complexity and multilayeredness of new poems can hardly be expressed directly through recitation, and the poetic meaning can only be maintained by arranging the words. According to Kahler, whether a text is a poem or not does not necessarily depend on the language itself, but on the arrangement of words, i.e., the visual form. A piece of news can be arranged as a poem: Yesterday on Highway 7 a car traveling at 100 miles per hour slammed into a French sycamore, killing all four people in the car
Visually, key words are emphasized. The word "slammed," for example, contains more psychological volume. Death," is sudden and shocking.
Dialectical Skills
Poetry places more emphasis on dialectical skills. Poetry is the life of art and only dialectical skill can write it well.
Examples: from the subject-object relationship on the subjective and objective, with me and without me, etc.; from the artistic conception on the shape and God, virtual and real, big and small, hide and reveal, all and incomplete, abstract and figurative, limited and infinite, like and unlike, simple and complex, exaggeration and realism, etc.; from the art of expression on the sparse and dense, curved and straight, breaks and sequels, out and into the right and the wrong, inhibition and Yang, tricky and clumsy, raw and ripe; from the artistic style on the ornate and the In terms of artistic style, there are gorgeous and simple, natural and decorated, strong and talkative, masculine and feminine, calm and elegant.
Focus:
1. Self and Selflessness: Self is self-consciousness. Selflessness, is the transcendence of the self, not the abolition of individuality. Egolessness, first, refers to forgetfulness, that is, the mind is free to roam and mingle with external objects, to achieve the state of forgetfulness; second, refers to the big ego, refers to the country, the nation and the times. It is only when there is a self that one can be sincere and have individuality. There is no self in order to be unrestricted and to have a sense of universality and history.
2. Limited and unlimited: limited refers to the specific verse; unlimited refers to the connotation of the verse. The key is to write a good limited.
3. Imaginary and real: real is the information directly conveyed to the reader through the depiction of objective images. Virtual is the reader through association and imagination and indirectly obtain information. The combination of the real and the imaginary is to transform the real into the imaginary,?quot;transform the scenery into the sentiment", and the second is to transform the imaginary into the real, the abstract feelings and philosophies to the concrete and vivid image, the use of metaphors.
4. small and big: small and big refers to the description of the object. A flavor of writing small will be limited to trivial; a flavor of broad is flowing in the wild. Romanticism is more expansive. Love poetry is easy to trivialize. Mao poetry is too "big". First, the poem should be small and big, such as "What is it like to float? A sand gull in heaven and earth". The second is to see the big with the small, "red apricot branches of spring", "window containing the West Ridge thousands of autumn snow".
Poetry mode
The mode plays a big role in teaching. Some people disapprove of them, believing that they bind the writer. This is one-sided, and can even be said to fail to grasp the essentials of creativity and teaching. The genre is the pattern. However, beginners do not have to copy, create a period of time to consciously leave behind the pattern, to play creativity, arbitrary drafting. There are roughly nine poetic modes.
Symbolic Mode
This mode can be said to be the heirloom of poetry, and is also known as multi-layered: in the visual level of the textual symbols to give people the image, at the same time in the deeper layer of the association to give people the meaning (a physical thing or spiritual content) as infinite as possible to generalize and encompass. Symbols are superficial and clear, and may even be prescribed by traditional rationality, such as the plum orchid, pine and bamboo, the Great Wall and so on. The symbolized body, on the other hand, is hidden and ambiguous. The relationship between the two should be arbitrary to facilitate creativity. Genius poets put the apparently unrelated internal and external imagery through similar associations to form a marvelous idea. The key is to capture the ****similarity between the two, while other attributes are as far apart as possible.
The central method is to choose the image, the formation of symbolic imagery. Imagery, also known as artistic image, can be said to constitute the cells of the large system of literature and art. Imagery - human consciousness (including emotions. Fundamentally, it is the aesthetic and cognitive needs of the human being), which ultimately manifests itself in literature and art as the projection and expression of the author's individual life. Image - objective things, external to the author, but ultimately objectified by the essence of the author's life. The combination of the two is imagery, and the number of components of the two and the relationship between them, such as hidden and sparse, has resulted in two basic methods of literary creation, namely, Romanticism, which emphasizes meaning, and Realism, which emphasizes imagery, and has become the source of the theory of expression and the theory of reflection. Symbolic imagery has a specific requirement over general imagery: to be the central image of the poem. The best symbolic imagery is infinite in meaning, expresses the inner world of the author as much as possible, and becomes a universe of artistic individuality.
As a rule, the titles of such poems are written with a symbolic body (or even a character). However, the inner body, i.e., the feelings of the author's individual life, is what the poem is really about.
Transverse Mode
This type of poem intercepts a slice of life or a slice of consciousness and describes a series of images or uses a series of metaphors in order to express the author's feelings and express his consciousness. Many landscape poems are exactly like this. It is important to create the mood as much as possible. For example, Du Fu's Spring Hope.
Vertical Mode
This type of poem takes the advancement of the author's point of observation as a clue, and as time passes or space unfolds, it blends what it sees and feels into one. For example, He Jingzhi's "Return to Yan'an". These poems are generally longer and are mostly narrative poems.
Sublimation Mode
This kind of poem is usually divided into two parts, the first part is a gentle padding, and the second part is a new idea, resulting in a striking breakthrough, which sublimates the feelings and mood to a new height. Most of the old-style poems that talk about "aspiration" adopt this pattern, writing scenery in the front, blending the scene, and writing "aspiration" in the back, with feelings in the aspiration. Mao Zedong's "Qinyuanchun. The first is the "Snow", which is the first of its kind in the world.
String of pearls
This type of poetry consists of several juxtaposed sections of the same structure with some of the same lines. Repeated chants. The Book of Songs has more poems of this type.
Confessional Mode
Direct expression of feelings and use of assertive argument, also known as argumentative mode. It has a long history, and most of the Romantics used lyricized argument, i.e., confessional. Many political and philosophical poems belong to this "traditional confession". This kind of confession is not easy to write well, first of all, the author must reach the highest level of awareness and experience of an era. Among the Western modernists, Whitman's "Leaves of Grass" was the first and the first to use a lot of confessions, so much so that after the 50s, Allen Ginsberg's "Howl" was the representative of American poetry, forming the confessional school, which occupied the mainstream position. Most of the poems of the "third generation" in China in the 1980s belonged to the "confessional" poems. Unlike the Romantic confessions of the early period, the confessions in contemporary poetry can be called "anti-traditional confessions": they are intentionally anti-traditional - against culture, aesthetics, individuality, rationality, and even poetry itself, but in fact, they are limited to the subject matter in the circle of personal life experience, mainly in my own feelings. Most of the poems are written in the first person, without any formalities, using everyday colloquialisms to reveal one's feelings about life and even privacy, and sometimes touching on society and criticizing it to a certain extent." The "confessional" poems emphasize more on language, form and meaning, and even write entertaining documentary poems, calling themselves "play" poems. As an exploration of poetry as a whole, "confessional poetry" can be said to have a historical role in shifting from social criticism to individual life-affirming meaning.
Hieroglyphic Patterns
Poetry lines are arranged in the shape of a central image, which becomes a hieroglyphic pattern. For example, the French poet Apollinaire's "The Stabbed Dove of Peace". Another example is the poem by the Taiwanese poet Bai Di, which is like a landscape painting (the lines go from right to left and the words from top to bottom), a metaphor for the wanderer as a silk fir far away from the mountains, forests and lakes.
Modern mode
Transplanted from Western modernist poetry. In terms of content and form, it is significantly different from traditional poetry, and it is believed that content is form and form is content, so more emphasis is placed on formal innovation. It writes about the split and absurdity between the individual and society, nature, other people, and even the self, reflecting the spiritual crisis, perverted psychology, pessimism, despair, and nihilism brought about by the high degree of development of capitalist society. It emphasizes the expression of the inner mind, which is in fact only the instincts (desires, especially sexual desires) and subconsciousness that are unpredictable and unpredictable. The main methods used are: ① Perceptualization of ideas, i.e. abstraction of the physical senses. Abstract ideas and concrete images are directly combined to "perceive ideas as you smell roses (Eliot)". For example, the poem "Dance of Force", "Dizzy Will", "Damp Souls Sprouting". Free association. This kind of association is not inherent in the thing itself, recognized by everyone, but is based on personal intuition and hallucination to write out the association. For example, "The sun is the soccer ball kicked out of the sun. ③The form of language can be changed at will, and it is used to imply the feeling, imagination and state of mind of a certain moment.
Convergent Mode
Some lines in this type of poetry are arranged in abstract shapes, indicating a certain tendency. For example, the arrangement of lines in the second half of "The Sun Goes Down" suggests the sound of bells rising and falling in the wind.
Poetry writing skills
1. Read the 300 Tang poems, but you will not be able to make a poem
Read more, think more, pay attention to observation, take more action, try to make a few poems, and be more serious
Attention to these aspects will be almost sufficient
2.
Poetic language is not just a simple combination of spoken and written words, but a poetic language that is refined and organized for the purpose of creating meaning and expression (the language of the old poems is refined in literary words, and the language of the new poems is refined on the basis of spoken words). Poetic language is not like the language of the essay, which requires smoothness, fluency and straightforwardness, but requires subtlety and euphemism. For example, if we also focus on the topic of "Catching up with the Market", the language of the composition can be written like this: people came to the market from all directions, and there were more people for a while, bustling and flowing, some of them buying and selling grain, some of them trading livestock ...... And writing about catching up with the market in poetic language can become like this: all kinds of gazes were wished for Promulgation / days / in the countryside on the agricultural pulse of rapid pregnancy / rush days / sweaty clothes / just like a three-dimensional ink painting / paw to paw the mountain people / shuttle in the grains, six animals and electrical appliances / perfect naive smile / touched and warmed by a banknote ......
Poetry's language should also be concerned about the rhythm and rhyme, although the write New poetry may rhyme (as in "Market in the Sky") or not (as in "Paper Boats"); it may be stanzaed (as in "Silent Leaves") or not (as in "Colors"); and it may be punctuated (as in "I Sing for the Young Boys and Girls") or not (as in "Nostalgia"), as mentioned in previous poetry instruction. It is free, entirely at the author's own choice, and serves entirely to express the meaning and create the mood. But rhythm and rhyme strengthen the language of the poem, it is catchy to read, it has musical, pictorial and architectural beauty, giving people visual beauty and auditory enjoyment. For example, the poem "I am a small river": I am a small river/I have no intention to bypass you/you have no intention to put your colorful shadow/into my soft soft waves.
3. Flexible combination, beyond the grammatical norms
The language of the poem goes beyond the general grammatical laws, it is characterized by jumping, manifestation and transcendence. It is flexible in combination, for example, we can put different functional modifiers for interleaving and matching, you can say "black sighs", "floating with oil foam dream", "pink memories", "warm silence", "the warmth and the silence", "the warmth and the silence", "the warmth and the silence", "the warmth and the silence", "the warmth and the silence". "warm silence," "milky song," and so on, using this conventionally unthinkable means of expressing the complex emotions of modern man (which is, of course, a rhetorical device called flux).
The transfer of words is also a regular technique in poetic language. For example, in Luo Fu's poem "Summer has passed the lotus, autumn has passed the cicada" ("Today's Snow"), "We are windy and frosty" ("Hunan's Snow"), here the name is used as a verb, which not only can stimulate the readers to feel the corresponding image, but also contains a wealth of experience. Experience. The word "lotus" gives a feeling of warmth and decay, the word "cicada" gives an image of impatience and desolation, and the words "wind" and "frost" give a feeling of warmth and decay, the word "cicada" gives an image of impatience and desolation, and the words "wind" and "frost" give an image of impatience and desolation. "The word "wind" and "frost" gives a life experience of tribulation and maturity.
4. Hammering words and refining sentences to create a harmonious atmosphere
Hammering words and refining sentences is the fine tradition of Chinese poetry, and most Chinese poets are capable of hammering words and refining sentences. Du Fu's lifelong pursuit of "words are not shocking death", Li Bai is known as "talent big language end strange", many of the famous lines that have been recited through the ages, is through the hammering of the word refining sentences, such as "the bright moon, the magpies, the breeze in the middle of the night Cicadas in the middle of the night" (a "shock" and a "song", intertextual rhetoric, static scenery presents dynamic beauty), such as "the spring garden can not be closed, a branch of red apricots come out of the wall "("Can't keep them off" is not only the color of spring, but also the joy and excitement of enjoying spring), "When will the bright moon be there, let's drink and ask the blue sky" ("let's drink"). (the "drinking" and "asking for the moon" are so vivid and elegant), such as "You are standing on the bridge looking at the scenery/the people who are looking at the scenery are looking at you from upstairs/the bright moon decorates your window/you decorate other people's dreams" (these "looking" and "scenery" are not only the colors of spring, but also the joy and excitement of enjoying spring), "When will the moon be there, and will you ask for the sky" (the "drinking" and "asking for the moon" are so vivid and elegant). ", "scenery" and "decoration" appear repeatedly, creating a mood of back and forth that is thought-provoking).
When we write poems, we should not only focus on the accuracy and vividness in the rhetorical sense in mastering the language and pushing the words, but also try to stand at the height of spiritual experience, looking for words and phrases that best reflect people's moods and create a harmonious and poetic atmosphere.
Summary: The biggest taboo of poetic language is bluntness and obscurity. Straightforward language is not infectious and cannot attract readers; obscure language is unreadable and will not be appreciated by readers.
Many people think that modern poems are less bound by the rules
often easier to write
In fact, it is not
This is more demanding
To have the real thing
On a normal day, read more
Travel more, and increase your own mindset and experience is the fundamental way
If not, even the most beautiful words are just
It's a good idea to start from your own side
Record your own feelings bit by bit
Repeat and enrich your life
Read some literature
How to learn how to write modern poems
Recently, I've been going online and reading ancient and modern poems written by Internet writers and I feel that there are a few things I've learned:
1. Although Lu Xun said that there was no poetry after the Tang and Song dynasties, it is undeniable that many good folk poets in modern times have absorbed the essence of their predecessors and written many fine poems. However, it is only limited to ancient poems. The quality of modern poetry is significantly inferior to that of ancient poetry.
Why? This has to do with the uniqueness of ancient poetry. Chinese characters are characterized by a single character and a single sound, with structures such as morpho-syntactic and ideogram, and the semantic ambiguity of the characters is very strong, which makes them very suitable for creating ancient poems that require a sense of meaning. Many ancient poems have no flavor after being translated into modern poems, which means that the writing of ancient poems mainly focuses on the meaning, and the creation of meaning mainly relies on the semantic ambiguity of individual words, such as "thousands of birds fly away from the mountains, and ten thousand traces of people go out"; "pushing the window to a thousand years of snow"; etc., which readers can associate with endless connotations; whereas modern poetry has a unique structure of Chinese characters, which is very strong in semantic ambiguity. Modern poetry has a relatively clear discourse structure and the semantic meaning of words, so it leaves less space for the reader's imagination, and there is an obvious inherent deficiency in the portrayal of mood, so it requires the author to make up for it with more skillful writing; therefore, in this sense, to write a good modern poem, it requires relatively greater literary cultivation. The author intentionally uses the word "green" in "Spring Breeze and the Green Shore of the South River", which is the advantage of the ancient poem. If China translates it into a modern poem, it will be turned into "blown green", which makes it impossible for people to have space for imagination. The actual verb, the mood greatly disappeared.
Of course, the writing of ancient poems is just as necessary to write well, but it's relatively easy to get started after mastering a certain level of ancient literature. It is therefore no surprise that ancient poetry has flourished on the modern web. However, this is something left to us by our old ancestors. While inheriting it, how can we carry it forward and better align it with modern language? We must not be satisfied with repeating what our old ancestors have said, matters that already exist; forever, Chinese poetry will have no future and lose its innovation. And foreigners, especially the American Pound, as early as the middle of the last century, had the courage to innovate, absorbing the merits of poets such as Wang Wei, and creating the Intentional School of poetry. We, on the other hand, have not inherited and innovated, and have either been following the foreigners and writing hazy poems, symbolism, etc., or we have been following the ancients and writing about things that the ancients have played with long ago, but not our own good things. This, the Japanese did better than us, they learned our Tang poetry, but created haiku; they absorbed the French symbolism, but maintained the style of ancient poetry meter.
Someone once said that China has no poets, and some Internet poet loudly retorted, "Me, that is!" Great, China needs poets, but he's still just a modern author writing ancient poetry. Lacking innovation, his poetry is doomed to obscurity. If only someone who writes modern poetry could stand up bravely and say, "I am the real poet of China!" Then there would be hope for Chinese poetry.
The meaning of poetry, the truth of poetry is a very big topic, my generation of amateur writers to talk about this topic is more or less a laughing stock. Talking about this topic requires serious and profound thinking and research and thinking about the history of poetry itself, and it also requires the poet himself to have a profound theoretical cultivation of poetry.
Some people say that poetry is written for themselves, I do not quite agree, but not entirely against - people are social people, poets are the same, with the social nature of poets will always be a part of society, there is no poets do not eat the fire of the world can write a great chapter. Water, sand, clouds, just a drop of water in the sea or stream, a grain of sand in the desert, a cloud in the sky. The poet is the society, but also himself, is an individual, has a personal unique life experience, and this society has **** sex also has its own qualities, a grain of sand has the size and texture of the difference. These can be shown in the poetry of a certain poet - "Dangerous buildings are a hundred feet high, hands can pick the stars, do not dare to speak loudly for fear of scaring the people in the sky." This poem, as I understand it, is purely an experience of the individual mind and of real life; its social value is not positive, nor is it objectively reflected here, but this does not in any way affect its survival as an excellent poem for posterity. "The night gave me black eyes, with which I search for light." Pure and simple modern poetry, similar to the truth of the poem, the value of society in this poem, but the same in this poem is not thoroughly demonstrated, but the revelation of the soul is not to be ignored. Comparing the two, who can give a clear answer as to whether ancient or modern poetry is superior? Whether the poet is lonely, aura extraordinary or far-sighted vision of the future, iron shoulder to shoulder justice, in essence, still belong to this society, at the same time belong to the individual.
The difference in form between ancient and modern poetry is the most obvious and fundamental, especially in the leveling and sloping. To be concerned with form, that is to say, to think obstinately that to write a poem one must be well versed in meter and complete it according to the prescribed number of words in the format, is harmful and does more harm than good. The reason for the rise of modern poetry is a topic worthy of our consideration. Modern poetry is the mainstream of poetry creation in this era and even in the future, which can be seen from the ratio of poems published in the Internet and traditional publications. On the other hand, without the constraints of the mainstream status of ancient metrical poetry, I am afraid that the level of modern poetry would have already surpassed that of ancient poetry. In detail, I think there is no difference between ancient poetry and modern poetry in terms of the significance of the times and the historical significance of the content. Whether one likes ancient poetry or is proficient in modern poetry has something to do with the author's personal preferences and creative style, but has nothing to do with the quality of the poetry itself, or rather, not much to do with it, and there is no conflict with the requirements of poetic creation (metrical poetry and modern poetry both require the presence of music and beauty, leaps and bounds, dialectic, and the experience of life that can be touched).
Modern poetry has sprouted in ancient China, Qu Yuan's "Nine Songs" of "Ode to the Poor", "Huai Sha", "Li Sao", "Ode to Orange", Li Bai's "Dreaming of Heavenly Creatures", "Wine", "Hard Road to Shu", Du Fu's "Thatched Cottage Broken by the Autumn Winds", Chen Zi'ang's "Song of Ascending to the Terrace of the State of You", which one of them is about the metre again? Both the content and the musical rhythm of these songs are equally outstanding. Did the limitlessness of meter affect their status as ancient masterpieces? The reason is that it is the spirituality of these poems that makes them great. Why have we been so blind to this and so complacent about the greatness of ancient Chinese poetry? Regrettably, such poetry in ancient China, which was not limited by form, declined directly after the Tang Dynasty under the influence of the trend, and did not deepen and develop, which was inseparable from the politics of that time, as well as from the prohibition of indium in the minds of the literati and the education they had received. The long-term dominance of metrical poetry in China, extremely cruel restrictions on the development of modern poetry, so that the creation of Chinese free verse ultimately did not form a climate, nearly extinct, by the Chinese ancient metrical poetry constraints and stifled, and to the Qing Dynasty, almost completely to the decline, the sunset of the afterglow can not be seen. In modern times, the civilization of ancient countries, modern poetry actually need to be introduced from abroad, to see the depth of its harm, but this point, the last century before the thirty-fourth century, who has seen? The real creators of poetry in the contemporary Chinese poetry world have y realized this point. Of course, from another point of view, we can't deny that the creation of ancient Chinese poetry is conducive to the development of ancient Chinese poetry and song, and that its strictness and style are indeed difficult for other countries all over the world to look up to and make it an unshakeable and transcendable peak that can only be looked up to, and that we can't deny its historical value and status, and we can't even subjectively deny its historical significance and social value as a matter of course. But we can't help but say that it is not the sorrow of Chinese poetry, which has delayed the development of modern Chinese poetry for at least a thousand years, and silenced it for at least a thousand years. The fact that the ancient poems created by contemporary poets are almost unnoticed is not due to the quality or the lack of excellent poems; it profoundly reflects the future direction of poetry and the irresistible historical trend; after all, poetry needs to develop.
What is really good poetry? When I asked this question, I thought about it again and again, and I think it is more appropriate to grasp it in this way: only the poetry that harmonizes the content and the form, that truly reflects the soul's experience of life, life, and reality, and that is able to move people's hearts, and to cause them to think and ****ing, can become a good poem.
We can have our own special hobby, but we can not because we do not like a certain type of poetry, or think it is obscure and difficult to understand the individual unilaterally and subjectively that it is only a personal thing and irresponsibly blamed, sometimes directly point to the point, or that poetry is purely eaten food and nothing to do in the guys in the sick moaning, this is not to be, at the very least, that's not the author of the creation of a kind of hard work. At the very least, it is not a kind of respect for the author's hard work. Of course, in the treatment of creative attitude is not rigorous poetry, we can ignore, or, point out its poetry itself deficiencies, after all, this is conducive to communication and improvement.
As for the different readers of the same work of an author, I think it is the reader's level and interpretation of the attitude of poetry, or personal life experience between the differences caused by, I remember a master of poetry in different periods of time to read their own the same poem, told us that his understanding of the same thing is not the same at all, the author of the poem itself, not to mention other people. As for a friend who told me some time ago that the work of a certain author who won the first prize was uncomplimentary and childish, I wonder if it is not possible to talk about other things after a thorough understanding of the work for which he won the prize.
The same is a literary work, poetry, prose, novels have a great difference, and even the essential difference. Simply put, prose expresses some of the author's feelings, thoughts, and views of the outside world, the novel is the character's experience, and these things are expressed through the text, a string of words itself does not have a meaning, when they are combined and perceived by the reader as a whole, only to obtain the value of the text has become the author's tool, has become the carrier of the meaning of the carrier, so in the judgment of the prose and fiction Therefore, in judging essays and novels, the first thing we have to consider is what the value of the author's writing is, what kind of idea it is, and then what kind of words are used to express the work. A good idea plus accurate and beautiful words constitute a good work, and awareness is the fundamental purpose of the work.
But what is modern poetry? Its author draws away from the world of meaning that consists of words, and looks down upon and appreciates them. It is as if we have come to the great garden and gazed closely at each blooming flower. The author at this point becomes a gardener, collecting his favorite flowers of all colors and weaving a nice pattern. As for what the pattern represents, he doesn't care.
Modern poetry is also made up of words that the author finds nice to look at and listen to, and each word gives people a wonderful feeling. Maybe they also have various values and meanings behind them that have been given by people, but this skillful combination is not supported by the meaning, and at the same time, the whole they form does not represent a certain meaning or value. It's like a song , the notes make up a beautiful melody, but it doesn't point to a particular meaning, the key is to sound good. It's no wonder that poems and songs have been formed into a word by others: poetry. Obviously, the words themselves became the purpose of modern poetry.
So, to evaluate a modern poem, we have to look at its ability to give us natural beauty, and then its meaning and value, which the reader is free to assign.