The musical beauty of the "three beauties" refers to the fact that each stanza of the Crescent School's poems has a different rhyme scheme, as if it were music. Architectural beauty refers to the format of the poem as if it were a building. Pictorial beauty refers to the fact that each stanza of a Crescent poem is a picture that can be painted.
The Poetry Magazine School and the New Moon School are originally from the same school, and it is very difficult to distinguish between them. The important poets of this school were Sun Dayu, Rao Mengkan, Chen Mengjia, Lin Huiyin, Bian Zhilin, Zang Kejia, Liu Mengwei, Jian Xian'ai, Shen Congwen, and Sun Yutang, etc. There were also Fang Weide and his aunt Fang Yutang. There was also Fang Wei De and her aunt Fang Ling Ru.
Chen Mengjia's Selected Poems of the Crescent Moon said of Sun Dayu, "The sonnet is the most metrical of poetic
forms, and in rhythm it demands rhyme, and in key-locked associations, the closest joining, that is, the progression of meaning, must be observed to conform to the rhythm
. Sun Dayu's three songs of the Shanglai style give us an increased expectation of success in trying to write Shanglai. For he has proved that he can maneuver well in the use of foreign
national metres." I now quote from Sun Dayu's Shang Lai, entitled "Old Words":
I don't know how many years have elapsed since I leaned on the slim, green cloud, and wore a crown of splendor, and worshipped a thousand peaks of silent
countless years have passed, before you, the lower realms, have begun to hover at my feet--since I have been in a state of great sorrow and sorrow, since I have been in a state of great sorrow, since I have been in a state of great sorrow.
Since then, I have been dipping my fingers into the waves of day and night in this corner of the earth and the sky, and drafting the grave of creation and the record of life (registering the dawn at the end of the year of your children, the young and the strong, and singing and dancing until they succeeded; and registering the disappointment of how the clouds were rolled out, and the pain of the autumn rains came down in a burst of
mockery), and the rest of the record has been blurred, and only the stars and buckets are left in the sky. I still remember the brightness of love.
Sun Dayu danced with shackles on his feet and was able to dance with such freedom, which is really surprising. I
And I love his hanging Xu Zhimo's little poem titled "Recruitment":
You go, you go, Zhimo, a day of fog,
Covering you to the other side,
Between the moonlight and the stars,
Once you go, you will never come back to the mangled long-distance.
No, no going, I see you, in the water before the wind,
cloaked in the pale sunrise,
straddling the vehicle of the floating clouds,
swiftly revealed, and swiftly hidden.
Come back soon, a million splendors, dotting that deep blue,
That goes horribly dark,
There's too much cold wind there.
A dead silence, are you used to it? ...... Although these two poems are y impregnated with Western culture, reading
it reminds me of Chu Shi. The second poem is especially similar to "Invocation of the Soul" and "The Great Invocation," which shows how Sun Dayu has a Chinese spirit
soul. But he seems to have a deep study of astronomy and an extremely deep love of it. So he has an extremely broad view of the universe and
an infinite view of time, which are not found in Chinese poetry. "Millions of splendor, dotting the deep blue, that place is so dark that it is
scary, the cold wind there is too great, a dead silence, are you used to it?" This is a very interesting piece to read. Sun Dayu also has a 1,000-line poem titled "A Portrait of Myself," which Chen Mengjia comments, "is an astonishingly long and carefully structured poem, a recent creation in new poetry that can be commemorated.
He has broad concepts that begin with the idea of a new life, a new life, a new life, and a new life. He has a broad conception of the whole of New York City, a tightly knit, deep-seated view of the city that holds up the intricate consciousness of a modern
man. The new diction, the new imagery, with that majesty, is astonishing."
Between Zhu Xiang and Sun Dayu is Rao Mengkan. Rao Mengkan was described by Chen Mengjia as "the same - referring to Wen Yiduo - who writes light poems with simple imagery in an unsophisticated manner
that is, with a rigorously refined technique." It is also said to be, "Clarified as water, imprinted with clear, spiritual clouds
of sky." Try this one, "His Call": Once I was in the poplar forest, and heard an affectionate call; then the moon
was looking at Wengzhong, and Wengzhong was looking at me.
No longer hearing the call, I was taken aback, and looked in all directions--Wengzhong was only lost in thought to the moonlight, and the moonlight only smiled coldly at me.
The moonlight was only smiling coldly at me.
Chen Mengjia and Fang Weide are the rising stars of the new moon, and can also be said to be new poets directly inherited from Xu Zhimo and Wen Yiduo. Chen Mengjia
Chen Mengjia had a collection of poems published in 1931, in which he wrote a lot of good poems. He once said of his poetic aims: "We are happy with 'mellow
pure' and 'pure'. We think that the writing of poetry is not the easiest of the arts to produce; it is regulated, like a horse
with reins and saddle and bridle, though there may be inspirations that stir the poet's heart at a moment's notice, such as the winds that inadvertently give a harmony to a reed-pipe, which is not often to be expected." ...... "'Mellowness' and 'purity' are the minimum requirements of the work
The reflection of that spirit depends on the creation of the artisan's divine workmanship, which is the transfer of his soul. The spirit is reflected in the creation of the craftsman's divine workmanship, which is the transference of his soul. In his work, there must be a peaceful
thinking, a complete imagining, a process of clearing the mind or the emotions. ...... So the poem must place the most appropriate, the most suitable, the most indispensable
words and phrases in the place where they should be placed. Its tone, or even its air, must also be in tune with the mood of the poem." He also
said, "To advocate the mellowness of essence, the circumspection of technique, and the strictness of metre, is almost our unanimous direction ...... The rigor of attitude
is again our ****same confidence." These words are counted as representative of the thought of each poet of the New Moon School. The Dream Family Poetry Collection
contains about fifty poems, all of which are mellow and pure.
I love the geese of autumn, tireless all night long,
(like a command, like a promise)
Calls and flies away.
Never asking his song,
On what cloud does he leave it?
Only sang, only flew, Dark sky, light wings.
I'd rather be a goose,
Everything is made to be forgotten-
When I mention it, when I think of it: not hate, not joy.
Chen Mengjia said that Fang Wei De's poems are "light, nimble, and so elusive and magical. The Yuzi" and "Voices on the Sea"
have his special style, and the urgency of the hammers reveals tenderness." Well, let's take a look at his "Phantom Son"
. Every night I lie in bed, and a heavenly river flows through my dreams, and there is a boat in the river, and there is a light in the boat,
and I call to the boatman:
"Swing the Yuzi across the river!"
I opened both eyes at dawn, the sun had climbed higher than the tree tops, and Old Dee opened the door to urge me to get up, and I smiled to myself:
"It's better if Yuzi doesn't come."
Chen Mengjia and Fang Weide also wrote a long poem entitled "Repentance and Return," which was printed in a single volume and was widely read.
Chen Mengjia and Fang Weide also wrote a long poem called "Repentance and Return," which was printed in a single volume and widely read. The poem was passionate and unrestrained, and the writing
has the power to swing around, and it is a masterpiece of new poetry.
Fang Lingru and Lin Huiyin are two female poets.
Fang Lingru and Lin Huiyin are two female poets. Lin's "Laughter" is extremely delicate
exquisite, worthy of a woman poet: the laughter is in her eyes, lips, and the rounded edges of her lips.
Beautiful as dewdrops,
Double smile to
Beautiful as dewdrops,
Double smile to
Beautiful as dewdrops,
The flash of teeth.
It was laughter - the laughter of God, the laughter of beauty: the reflection of the water, the soft song of the wind.
The laugh was of her sylvan curls, loose next to her ears.
Light and soft as the shadow of a flower,
Tickling sweetness
Surges into your heart.
It was laughter - the laughter of a poem, the laughter of a painting: the lingering traces of a cloud, the soft waves of a wave.
Bian Zhilin has a poem "Peninsula", which seems to be representative of his style: Peninsula is the slender hand of the mainland, pointing to the three gods on the sea
Mountain.
The small building is already there. Three sides of the water,
can see but not drink.
A vein of spring is gushing to the heart of the court,
The human traces are still depicted in front of the door.
Last night was a little jewel,
and this is what you see.
Hide the sea with curtains,
for fear of visitors looking out at the sails again.
Zang Kejia was a poet from a farming family, his works all smelled of the countryside, and he was famous for his bitter poetry, which has been called the Meng
suburb of the new poetry world and Jia Dao. Now read his "Insomnia":
One by one, one by one, the boat of life.
All anchored in the harbor of sleep, the wind dies of old age from the night's sea, and the snoring microwaves breathe serenely.
Only one of me still rushes down on the waves of the night, the stormy winds drumming on the canvas,
Heart, can't cast anchor,
The ropes of thought are letting go longer and longer.
Liu Mengwei's "The Last Resolute" is a poem about a love affair, threatening (and arguably pleading) with suicide for a woman who loves
unspecialized love and is good at change. Although the title is mundane, the writing is quite original. He takes the success of love as the red color of fate and the loss of love as the black color. The first stanza of the poem reads: "Today I have come to know the color of destiny--Lovely girl, please listen with all your heart
; no longer take my words for the sound of the wind! --Today I will show this last determination." The third verse says: "The color of blood is the happy luster of human
life; - lovely girl, please appraise for me, do not say that this is none of your business ...... The black is the tragic plot of life
. ." Jian Xian'ai's "Rainy Morning Tour of Longtan," stanza 1: "The tourists wandered low toward the expectant cold, and there was not
a single cloud to be seen in the roaming sky. Infinite gloom is drawn in the roaming sky, and the green crows fly across the sluggish sea and sky." Verse 2: "This forest and ravine reflect
the majestic greatness, the long donkey's neighing and the flowing spring, interacting and whistling in the lonesome empty mountain, which is sprinkled with dots of pear blossoms." Section
three: "Oh ...... the mountain road overflowing with water-colored spring, confused pounds of hairy rain, drifting down one after another, the distant peaks weaving emerald shadows of the trees. Imitate
For a time I returned to my hometown."
From these three stanzas, Jian's poem, the rhyme scheme is contrary to the custom of Chinese poems, that is, the first line is rhymed with the fourth line; the second line is rhymed with the
third line. Xu Zhimo often wrote this kind of poem, and Jian may have learned it from Xu.
There was also Sun Yutang of the Crescent Moon School, who was the most versatile and learned. On the eve of the war, he published a long poem "BMW" in the literary section of the Tianjin Ta Kung Pao, a poem of more than 800 lines. It describes how Emperor Wu of Han Dynasty, in order to seek the heavenly horse of Dawan, ordered Li Guangli to be the
commander-in-chief, and led an army of more than 100,000 troops to make an expedition to Dawan. He broke through the capital of Dawan, the city of Ershi, killed its king, Hu Shao-wu, and obtained more than ten so-called "precious
horses" and brought them back to the Han Dynasty. The beauty of the rhetoric, the rigor of the structure, the staccato and resonant syllables, and the richness of the interludes of the poem can be said to be the first masterpiece of the new poetry world since the first long poems were written, and it is also an extremely brilliant contribution to the new poetry world. Sun Yutang can be regarded as one of the great generals of the Crescent Moon School!
The reason why Emperor Wu of Han sacrificed so much manpower and material resources to seek the BMW from afar was, from a modern point of view, political
and it was for the sake of national defense.
The Han and Xiong Nu were facing each other at the time, and the Xiong Nu took advantage of its cavalry, while the Han was mostly foot soldiers.
With the foot soldiers against the cavalry, of course, the resistance could not be overcome, and Li Ling was a fierce general of the Han Dynasty who led 5,000 foot soldiers out of the pass, and although he won a lot of victories, he was finally surrounded by the army of Xiong Nu's Shan Yu, and the casualties of the 5,000 foot soldiers were all gone, so that Li Ling had no choice but to surrender. In view of the importance of cavalry in the desert,
Wu Di also wanted to train cavalry. The first time I saw this, I heard that the Khan of Dawan had the best horses in the world, and that he had the best horses. I heard that the country of Dawan has sweat
blood famous horse, had repeatedly sent ambassadors to ask for heavy gifts, the king of Hu Shao Widow always refused, and add the Han envoys to the insults, the Han Emperor was angry, only
hard to train an army, with the army to capture.
But Emperor Wu's quest for the BMW had another goal. It was to "seek immortality". According to legend, to reach immortality, a person must ride a horse across the sky
. So after Emperor Wu won the BMW of Dawan, he wrote two songs about the heavenly horse, and the second one was called "Song of the Heavenly Horse in the Western Pole".
The song reads, "The heavenly horse comes, opens the distant gate, horrifies me, and passes away in Kunlun. The Heavenly Horse comes, the Dragon's Medium, and travels to the Gate of Heaven to see the Jade Terrace". This song is now
collected in the Han Book of Rituals and Music in the Song of Sacrifice. It can be seen that this matter is not entirely political, but religious. Song Yang Yi has "Han Wu
Emperor" a seven-course poem describing Emperor Wu's quest for immortality. In the poem, there are two lines: "I seek the dragon's seed in the West Sea, and I die to eat the horse's liver", which can be said to
speak to the heart of Emperor Wu's mind.
Sun Yutang this "BMW" long poem, appeared in the Sino-Japanese war is about to break out at the time, the hearts of people sympathize with, have no time to ask about literature,
no one will pay attention. If Sun Yutang said that Emperor Wu's quest for a heavenly horse was for the sake of immortality, he was of course superstitious; if he said that Emperor Wu was thinking of national defense, he was also reactionary in the view of the leftist literati who advocated the breaking up of national boundaries. Sun's only boasted about Wu Di's martial arts achievements, and in the end condemned Wu Di's efforts to
hurt the people and their money by seeking only a dozen or so horses. But that condemnation was light, not easy to teach people to see. Shen Congwen
was a novelist, but his poems are unique, and each has an inhumane language. Ode", is a savage naivety, wantonness, desire for female
human flesh and praise, is really a simple and unadorned good poem. Also "Untitled":
Meister, one of your eyes can make a man happy, and my heart clings to you, and is older
than a sheep to a woman who looks at sheep.
With sweat running down my white face, I am the one who is weary of walking, and you are the road acacia with green branches to rest me.
I am like a leaf that is half-dead from the sun and wind on the branch, but your lips can make it moist, and your neck with
Forehead.
Reading these poems, one is reminded of the style of the Song of Songs in the Old Testament. The author does not understand Western writing, but the Europeanization of the writing is rarely
compared to the special genius of the author, which is really enviable.
There are also Liang Zhen, Yu Dazhuang, Shen Zumou, and the late poets Yang Zihui and Zhu Dashu, all of whom wrote works with very strict meter, which are
not as good as those cited here.