Poetry pays attention to rhythm in form, every verse rhymes, and it has a sense of rhythm and rhythm.
"It was so dark and quiet that night,/only I was so close to you. /God knows I dare not say I love you. /I can't calm this beating heart. That night was an unforgettable mistake. /God stole the souls of young people. /Now I say I love you ten thousand times,/but it's hard to get close to you again. "
Compared with Xu Zhimo's In vain, this poem is obviously different in style. Xu's poems are full of passion, and his inner tangled emotional experience is thoroughly written and his words are flexible. Chen's love poem, however, is slightly restrained in boldness and has a rational comb outside of emotion. Poetry pays attention to rhythm in form, every verse rhymes, and it has a sense of rhythm and rhythm.
Crescent Poetry School is an important school with the longest activity time, distinctive artistic features, the combination of theory and practice, and great achievements in creative practice in the history of China's new poetry. Chen is a representative of the late Crescent Poetry School and the most active and important young poet in Crescent Poetry Newspaper. Chen was born in a religious family. 1928, he met Xu Zhimo, who admired him very much, and soon published his first work "That Night" under the recommendation of Xu Zhimo. In June, 193 1, the dreamer's poem came out. 193 1 In July, he went to Shanghai at the invitation of Xu Zhimo, and was responsible for compiling Selected Poems of the Crescent Moon, the main representative work of the Crescent Poetry School. In the preface of this collection of poems, he summed up the artistic theory of Crescent Poetry School from the perspective of the development of new poetry, which is in the same strain as Xu Zhimo's poetic theory. 1934 1 month, Chen's collection of poems, Ma Tieji, was published by Shanghai Bookstore. 1March, 936, Selected Poems of Dreamers was published. Artistic features of poetry;
First of all, sentimental fantasies and dreams
This is a remarkable feature of Chen's early poetry creation. He has little to do with reality, but more to express his feelings and laments about life, joy, surprise and sadness about love, or to capture an instant mood. Although these poems express simple feelings, they are not superficial, but they contain sincerity beyond sentimentality, giving people a timeless aesthetic penetration and artistic originality in expressing the feelings of new poems.
That Night is the earliest poem published by Chen. I write about my past love experience, and I regret my past naivety and cowardice. "That night was so dark and quiet,/only I was so close to you. /God knows I dare not say I love you. /I can't calm this beating heart. That night was an unforgettable mistake. /God stole the souls of young people. /Now I say I love you ten thousand times,/but it's hard to get close to you again. " If we compare this poem with Xu Zhimo's In vain, the style is obviously different. Xu's poems are full of passion, and his inner tangled emotional experience is thoroughly written and his words are flexible. Chen's love poem, however, is slightly restrained in boldness and has a rational comb outside of emotion. In addition, the form of poetry pays attention to meter, and every verse rhymes, which has a sense of rhythm and rhythm. This is consistent with the previous crescent school theory.
In 1930s, Chen, who was only 19 years old, published the book On Poetry, which declared a complete artistic proposition guiding his poetry creation. In this Poetics, he divides the composition of poetry into two types: one is the external form, that is, the rhythm, and the other is the internal spirit, that is, the feeling of poetry. Formally, he advocates that "the combination of art and music produces aesthetic feeling and sets off the soul of poetry, that is, the spirit of poetry." He thinks that the spirit of poetry is more important than the form. At the same time, he felt that there should be philosophical meaning in the content. Different from most crescent poets, Chen's poems are permeated with rich philosophical implications.
Second, rich philosophical implications.
"A Wild Flower" has only eight lines, which seems easy to understand, but in fact it is rich in connotation. "A wild flower blooms and withers in the wilderness. I didn't expect this little creature to laugh at the sun. /He knows the wisdom God has given him. /His joy and his poems are swaying in front of the wind. /A wild flower blooms in the wasteland. He saw the blue sky, but he couldn't see his own smallness. /He is used to the gentleness and howling of the wind. /Even his own dreams are easy to forget. " "A Wild Flower" blooms all over the world, placing the poet's experience and thinking on life and society. Through the description of wild flower images, the poet reviewed and examined his former self. This wild flower is free and smart, but at the same time it is small and inaction, and the whole poem is full of philosophy. A Wild Flower is the earliest work to praise life.
Let's look at another song "October Night": "October night, the sky is like an eye,/the lonely goose is her eyebrow; /A tear fell from the sky, and a meteor/a bubble sank into the sea. The disappearance of that moment, I felt/flashed, and returned to the deep blue; /The praise life gives me is shocking./It's like groping for my windowsill in silence. " (October night)
First of all, the metaphor of this poem is very strange. Compare the night sky to an eye, deep and mysterious; Lonely geese are compared to eyebrows; Meteors are compared to falling tears, "sinking into the sea" and appearing as "bubbles that turn into flowers in one breath". It is very vivid here. This poem describes my unique feeling about the instantaneous phenomenon of life: the appearance of a meteor is only an instant, but this "instant" has greatly touched the poet's heart and made him "terrified". Life is beautiful and mysterious. The poem is rich in imagination and connotation, which causes us to think about life and time. In addition, Chen's poems have a religious feeling and consciousness. This is a difference between him and other crescent poets, so I won't elaborate here.
Thirdly, the change of poetic style in the later period
In the later period, Chen began to pay attention to reality, and his mood changed and he was no longer too sad. The collection of iron horses is representative. 193265438+1From October to February, Chen joined the Anti-Japanese Front of the 19th Route Army in Nanxiang, Shanghai. At that time, the military ordered residents to leave the war zone, and the refugees meandered for dozens of miles, looking like a black line from a distance. My youngest son, who never came back, walked under the rain and snow. The poet witnessed this scene and wrote a poem "Mourning". "A dense black line 30 miles long,/as far away as a river flowing in the dark, (the rhyme falls on the railway)/rings their central worries:/"Let's go! Let's go Who taught us that? "This poem reflects reality, profound and dignified. Different from the previous poetic style. The poet did not simply accuse the cruelty of war, but caused us to think about war in a higher sense. Formally, this poem has a neat structure and a strong sense of rhythm.
To sum up, the aesthetic value of Chen's poems is mainly reflected in the following aspects: First, the pursuit of the inner beauty of poetry. Second, ingenious conception, rich imagination and novel metaphor. Third, emphasize the harmony between rhythm and emotion. This rhythm does not simply emphasize metrical poetry, but is in harmony with the artistic conception of poetry, which is consistent with the theory of metrical poetry advocated by Crescent Poetry School.
Chen (1911~1966) is a famous modern philologist, archaeologist and poet. 191116 was born in Nanjing in April, and his ancestral home is Shangyu County, Zhejiang Province. His father, Chen Jinyong, is a long-term editor of Shanghai Guangxue Society.
First stage
Chen grew up in a tortuous social environment with many children, and was raised by his third sister Chen, who taught at Nanjing Huiwen Girls' Middle School. He likes reading ancient poems, especially Tang poems, since he was a child. When I was five years old, I went to Nanjing Sijitang Primary School to study. At the age of eight, my father was framed by an enemy and expelled from the seminary. His family moved to Shanghai, and he improved Sao Paulo Primary School. /kloc-in the spring of 0/920, he and his three sisters returned to Nanjing and entered middle school the next year. The living environment of the upper intellectuals' well-off families, the influence of traditional culture and the education of European and American culture in missionary schools have created Chen's contradictory thoughts, temperament and personality.
1in the summer of 927, before he graduated from high school, he was admitted to the Law Department of Nanjing No.4 National Sun Yat-sen University (later renamed Central University). At this time, he was dreaming a naive dream of a boy of 16 years old. This is his description of life at that time. The result of these dream flowers is some free poems. At this time, he met a teacher from Central University. Since then, his life path is bound to be closely linked with the influence of these two teachers.
In the autumn of 1927, Wen Yiduo went to Central University as the director of the Foreign Languages Department, teaching British and American literature, and Chen often attended classes. Mr. Wen's theory of Anglo-American Romantic Poetry and Poetic Metrization deeply touched the young poet's heart. Wen Yiduo attaches great importance to this talented student. He praised his friends many times and formed a lifelong relationship between teachers and students. Starting from 1928, Chen "began to bind himself with meter" in his creation. These poems "have a similar appearance: they all belong to a rhythm and are generally cut." (Preface to the Dreamer's Poems)1In the autumn of 928, Wen Yiduo left Central University. The following year, Xu Zhimo was hired by Zhang Junmou, president of Central University, as a professor of foreign languages, teaching European and American poetry. Chen's talent was appreciated by Xu Zhimo, and his poem "That Night" was recommended by Xu Zhimo and published under the pseudonym "Chen Manzai" in New Moon, Volume 2, No.8, which was his first public publication. Chen's creation at that time was deeply influenced by Xu Zhimo's poetic style (Mao Dun: On Xu Zhimo), and some poems were imitated by Wen Yiduo (such as Corona's imitation of Mei). Although his poems have the advantages of strict rhythm and lightness and elegance of Xu Zhimo's poems, at that time, he did not have the profound attainments of western literature like Xu Zhimo and lacked Wen Yiduo's strong sense of political responsibility for the motherland. "Everything he does makes a faint and faint sound like the sea" (Postscript to Wade's Poems) gives people a feeling of lightness and ethereal.
1In the summer of 929, people and descendants from Tongcheng, Anhui Province entered the Foreign Languages Department of Central University to study English literature and became poetry friends with Chen. Around 1930, a group of young poets gathered around them. At the same time, Chen's classmates Liang Zhen, Shen Zumou and others were also recommended by Xu Zhimo and often published poems in magazines such as New Moon. The formation of Nanjing poets became the forerunner of the later Crescent Poetry School.
Influenced by Wen Yiduo and Xu Zhimo's poetic theory, Chen, who was only 19 years old, published his poetic theory "The Decoration and Soul of Poetry" in the 7th issue of Volume 1 of Central University in June, 5438+0930, which declared a complete artistic proposition to guide his poetry creation.
First of all, he thinks that poetry, in essence, is "a kind of beautiful literature", that is, "poetry should be a kind of literature that can be appreciated and sung", so "poetry must have its own unique image and soul."
Secondly, he divided the composition of poetry into two types: one is the external form, that is, the rhythm, and the other is the internal spirit, that is, the feeling of poetry. In the form of poetry, he advocates "the combination of art and music, and the aesthetic feeling produced by beautiful format and harmonious rhythm sets off the' soul of poetry'." At the same time, he also pointed out: "the soul of poetry-that is, the spirit of poetry-should be more important than the modification of appearance." Poetry is not only some ordinary descriptions and feelings, but also has philosophical significance.
Finally, in terms of style, it is emphasized that "poetry should have natural format, natural rhyme and natural feelings" and "philosophical meaning should be dissolved in poetry."
Chen's theory of new poetry corrected the tendency of early crescent poetry school to emphasize formal factors; Admit that "the arrival of poetry is due to the inner reaction to foreign impressions"; In terms of poetry aesthetics and the artistic law of new poetry, it inherited the idea of "the content and form of poetry should express the power of beauty and become a perfect art" of the early Crescent Poetry School (Yu Yuyu: Zhi Mo's poetry) and made a more in-depth and beneficial discussion. However, on the fundamental problem of poetry creation, that is, the purpose and motivation of creation, he advocated the view of "art for art's sake". This is a big step backwards from the previous understanding that "the spiritual liberation or spiritual revolution of our nation in this period" is expressed by poetic art (Xu Zhimo: Poetry Magazine). Chen's artistic view against utilitarianism is obviously inseparable from the influence of his teacher Xu Zhimo's thought. After the failure of the Great Revolution, Xu Zhimo's thought and creation changed from "pure belief" in pursuing bourgeois democracy to "doubtful decadence" (Xu Zhimo: preface to the gathering of tigers). Although he was dissatisfied with the dictatorship of the new Kuomintang warlord, he wrote poems attacking revolutionary literary movements such as "Western Window" (Xu Zhimo: New Moon's) on the pretext of "not worshiping any extremes" and "not clinging to utilitarianism" This is a reflection of the political stance of the national bourgeoisie in China during the ten-year civil war. As a disciple of Xu Zhimo at that time, Chen followed Xu Zhimo's footsteps and inevitably left a mark on Xu Zhimo's thought. Therefore, step by step, he followed Xu Zhimo's propaganda of anti-utilitarian artistic view and criticized "the so-called revolutionary new poetry is a chaotic and noisy voice" (Chen: the decoration and soul of poetry), which has profound social reasons and personal factors.
However, in the early 1930s, the violent and turbulent social environment prevented Chen from putting down a quiet desk. /kloc-at the beginning of 0/930, Chen wrote a poem "Ghost Crying in Qinhuai River", which described the horrible and gloomy scene of Nanjing, the "capital" of the Kuomintang government. The poet's deep patriotism drives him to look back at the tragic real life from the "decadence of young people" with "a bunch of hidden worries". However, his growing experience and the social circle in which he lives often make him have no courage to face up to this ugly and desolate society further. He had to "dream again" and "fantasize" and "wander" in the poetry garden (see May). Chen's mentality represents the ideological tendency of a large number of middle and upper petty bourgeois poets in the later period of Crescent Poetry School.
193 1 year is the busiest year in Chen Wenxue. As early as the early summer of 1930, he discussed with Fang Lingru and Fang, and planned to run another Poetry Magazine after the Poetry Magazine of the Morning Post Supplement. In July and August of that year, due to his father's illness, Chen came to Shanghai and told Xu Zhimo the advice of the Nanjing poet, which was approved. Xu Zhimo immediately sent a letter to solicit contributions, and Chen prepared the Poetry Journal. /kloc-in the winter of 0/930, the third volume of New Moon published an advertisement for Poetry Magazine, announcing that "some old friends of our Poetry Magazine want to invite more new friends who are interested in poetry to get together again." 193110/On October 20th, Poetry Magazine, edited by Xu Zhimo and actually edited by Chen, was published in Shanghai under the name of "Poetry Society". In addition to Wen Yiduo, Xu Zhimo, Rao Mengkan and other early crescent poets and Nanjing poets, there are also cutting-edge writers such as Lin, Bian and Cao. In this process, Chen, who is less than twenty years old, became a member of the New Moon Poetry School.
In the same month, Chen's first book of poetry, Poems of a Dreamer, was published by a bookstore and sold out quickly. Many magazines have published book reviews, and even Binhai Literature and Art, a little-known publication in Shantou, Guangdong Province, has published a monograph, which has made Chen's poems famous. In July, 193 1, Poetry of the Dreamer was co-opted and published.
During this period, Chen Ye wrote some essays and novels. His novella Spring without Flowers was published by Shanghai Liangyou Book Printing Company on 193 1. The novel tells the love story of a pair of young people in the form of letters, which reflects Chen's depressed inner world in a tortuous way.
193 1 In the summer of, Chen graduated from Central University with a lawyer's license and moved from Xiaoying, Nanjing to Lanjiazhuang in the suburbs. In July, at the invitation of Xu Zhimo, he went to Shanghai, lived in Tiantong Temple, and was responsible for compiling Selected Poems of Crescent Moon, the main representative work of Crescent Moon Poetry School. In more than a month's time, Chen selected 18 representative works of major poets in the early and late period of Crescent Poetry School, and connected these poets with different social status and political ideological tendencies in the art school system. In the preface of this collection of poems, he summed up the artistic theory of the Crescent Poetry School from the perspective of the development history of new poetry, pointing out that the achievements of new poetry in the past ten years, like a trickle of the Yangtze River, are still "quietly walking the endless road in the mountain stream", while the Crescent Poetry School "thinks itself to be just a small water in the mountain stream" and is "patiently opening up a new road". He also said that "it is almost our consistent direction to advocate the integrity of the essence, the thoroughness of skills and the rigor of metrical rules" and "the seriousness of attitude is our confidence." His theoretical propositions have not left the nest of Xu Zhimo's artistic thought.
1931September, Xu zhimo handed over Poetry Magazine to Chen as editor-in-chief. 1 19 10 19, the poet of China national bourgeoisie ran into a mountain in Dangjiazhuang, near Jinan, and his last words and tragic fate aroused Chen's inner shock and deep thought. On the fourth day after his death, Xu Zhimo wrote a new poem "To a Sad Man", criticizing sentimentalism: sadness is a luxury for the poor,/happiness is in people's hands and hearts. /-The world is not all bad.
Soon, in the fourth issue of Poetry Journal edited by Chen, he was deeply dissatisfied with the phenomenon that "today's theme is too narrow" created by Crescent Poetry School in the later period, and said that he would expand the content of new poetry. All these indicate the change of his creative thinking.
stage Ⅱ
1June, 932, Chen Wan became the compilation of his teacher Xu Zhimo's last manuscript, Yunyou Collection, and after the summer of 19, he compiled his own poems and compiled them into Tiema Collection, so he resolutely stopped the publication of the later Crescent Poetry School, ending the student days mixed with confusion and pain.
Just as Chen was planning his future life, the "1 1 28th" war broke out! The rumble of the 19th Route Army's resistance to the Japanese invaders in Shanghai awakened the poet's ardent patriotic passion buried deep in his heart. On the second day of the Anti-Japanese War, I participated in the anti-Japanese propaganda work with my classmate Liu Qi 122 Brigade. Chen et al. followed 122 brigade from Nanxiangjing, Jiading, Yangxing, Gujiazhai, Zhenru and Dachang to Yunzaotan. /kloc-in February, 2000, when the army entered nanxiang town, Chen stood at the station for three days and nights, witnessing homeless women, children, old and young stumbling in the rain and snow, and the ranks of refugees on the Shanghai-Nanjing line leapt dozens of miles. His heart ached and he wrote a poem "Mourning" and said, "Who taught us this?" Asked. On February 13, the troops fought against the Japanese invaders at Jijiaqiao. 1The 5th and 6th regiments of the 22nd Brigade acted as strikers and fought hand-to-hand with the enemy all day. Chen, and others came to the scene of the fire to rescue the wounded. He saw the heroic China soldiers fighting bravely in the hail, and the wounded were stained.
Bloody people, some soldiers still keep their guns aimed when they die. The fields are full of new graves of anti-Japanese martyrs. In front of the soldier's tomb, Chen wrote a touching and tragic poem-"On the battlefield of Yunzaobang": On the battlefield of Yunzaobang, rows of blood flowers/new ghosts' graves were opened on the snow mud:/There lay our heroes-quietly/stretching uneven teams-flying paper flags. /goshawk, red wings and red tail, mourning for a long time. Now they lie down. They used to stand up/rush forward. They shouted to kill, they slandered,/killed people, and now they are all asleep/on the battlefield of Yunzaobang. Give it to you, just like the torch follows the flame, we hope,/hope you will bring our death back! /Hands bent into fists clenched the bomb and shouted to us:/Go there! Go there! Listen to our alarm! /The whole song hand lit a flame/Yunzaobang on the battlefield.
He also wrote a folk-song poem "The Old Man" on the front line of Jijiaqiao, describing farmers' love for the past. These epic works written on the front line of the Anti-Japanese War are precious records of the "1.28" incident. When the poet conceived, he "deliberately got rid of all forms of fetters" (preface to Dreamers Save Poems), which marked that Chen started a new creative stage in both content and form.
In late February, Chen returned to Shanghai from the front line of Songhu. In March, at the invitation of Mr. Wen Yiduo, he became the teaching assistant of Mr. Wen in Qingdao University, and began to study Oracle Bone Inscriptions under the guidance of Mr. Wen. In April, Chen revised his "Song and Shanghai Frontline Poetry" and compiled it into "Chen Frontline Poetry".
His poems, such as The Sea and Poems, written in Qingdao, have completely broken away from the rut and found a new way out. Later, when he talked about his early metrical new poems, he said, "Some people think this is my strength, but it is actually wrong." "This lock shattered a lot of my spirituality, but from these illiberality, I only earned some small words and sentences." In creative practice, most of the early Crescent poets were free in form at first, and then slowly embarked on the road of metrical, while most of the later Crescent poets, such as Chen and Fang, were strict in metrical at first, and then moved on the road of formal freedom. This literary phenomenon shows the formation and disintegration of the Crescent Poetry School. The younger generation of crescent poets have felt that it is a dead end to try formal experiments without social reality, and they have tried their best to explore new ways for the development of new poetry.
/kloc-in the summer of 0/932, Wen Yiduo and Chen left Qingdao for Peiping. Before leaving, teachers and students climbed Mount Tai, enjoyed the beautiful scenery of the motherland, and left an unforgettable impression in Chen's heart. In September, Wen Yiduo was appointed as a professor of literature in China, Tsinghua University; Chen was also recommended by the professor of yenching university Institute of Religion to study there. Later, Dean Zhao looked back and forth, and married his daughter, Ms. Zhao, and became a lifelong friend.
1932 10, the claws of the Japanese invaders have reached the pass, and the whole of North China is at stake. On June 22nd, Chen was invited to give a speech entitled Autumn Poems in the South Auditorium of Beijing YMCA. In his speech, Chen shouted: "Let our personal feelings gradually melt into the feelings of the whole nation, and our voices will become the crying voices of this large group of people, not just crying, but also the desire for rejuvenation."
At the beginning of 1933, the Japanese invaders finally trampled on the land of Jehol. Chen was indignant and determined to go out and go to the front to defend the motherland. 65438+ 10 On June 3rd, Fang, Qu Bingsen and other students held a farewell party at the Yanjing Homecoming in dengshikou, Dongcheng, Beiping. The next morning, Chen left Beiping and went to the Great Wall via Gubeikou. On the way, I witnessed the magnificent scenery of Saibei, and my patriotic feelings came into being. According to his impression at that time, his poems such as Gubeikou Daozhong and Chengde Daozhong were unrestrained and unique.
1At the beginning of March, 933, due to the non-resistance policy of the Kuomintang government, Jehol was lost without a fight, and the whole of North China was in danger. Chen's enthusiasm for serving the motherland was in vain, and he angrily returned to Peiping from the front. In September of that year, I worked as a Chinese teacher in Guangyi Middle School in Wuhu, Anhui Province, and lived in Qingyang Road, Lion Mountain. In Wuhu, Chen wrote two magnificent lyric poems, The Past and The Great Wall Song of Mount Tai, which reached the peak of his poetry creation. "The Past" is a work that reviews one's own experience in the form of a long poem, which is divided into three chapters: HarmonyOS system, misery and being far from the land. It is a romantic masterpiece with fantastic and colorful style, which shows the extraordinary talent of the poet. The 800-line poem "Song of Harmony between Mount Tai and the Great Wall" is a wonderful flower in the new poetry garden. Patriotic passion, like a mighty river, bursts with clouds and bursts across the banks, rushing between the lines of poetry in one go, which is dizzying.
This poem is desolate and tragic. Critics believe that it has both the self-restraint of Li Bai's poems and the verve of Cen Can's frontier poems. It is a review of the author's impression when he climbed Mount Tai in Shandong and went out to fight against the enemy. Coupled with his patriotic poems such as Wildfire in the Western Hills and Ballads of the Yellow River, it is worthy of being a masterpiece in the history of China's new poetry!
1934 1 month, Chen's collection of poems, Ma Tieji, was published by Shanghai Bookstore. In the same month, Chen went to Beiping as a graduate student of yenching university Research Institute, specializing in ancient Chinese characters. At this time, his main energy has shifted to academic research, but after class, he often publishes poems in the literary supplement of Ta Kung Pao in Tianjin and Shanghai, as well as in newspapers and periodicals such as Literature Monthly and New Poetry Monthly. His later poems are mature in poetic style and skillful in techniques, but they have lost the passion of the previous stage, showing a leisurely interest of "catching insects on a hundred sleeves and basking in the sun" (Spring Scene in a Small Temple). 1in August, 935, Chen selected 23 poems from more than 100 poems he wrote over the years, and compiled them into Poems of the Dreamer as "the settlement of his seven years of writing poems". In the preface of his poetry collection, he summed up the success or failure of his creative path and poured out his aesthetic ideal. However, the poet soon put down his pen, which made us unable to appreciate the ultimate beauty of the poems hovering in his heart.
The third stage
Chen's artistic achievements have always been praised by literary historians. Chen is known as the happiest lyric poem, and his main artistic achievement lies in lyric poetry. In his creation, his first effort is to create a lyrical image with unique personality. Throughout Chen's poems, we can appreciate the overall image of an elegant and pious young poet.
Every writer practices his own aesthetic pursuit in his creation, and poetry, an exquisite literary form, especially embodies the writer's aesthetic ideal. Mu said that Chen's poems are "as good as autumn sky, with the beauty of quietness and leisure" (Poems of a Dreamer and Collection of Iron Horses) really show its aesthetic characteristics. Reading Chen's poems, you can feel a kind of pure and simple beauty everywhere. Although the artistic conception and style of Chen's poems are as light as smoke, they are "tireless at first sight" (volume: on the poems of dreamers), which gives people endless aftertaste. His poems are full of philosophy and profound connotations.
Chen's poetry creation is deeply influenced by English romantic poetry, both in artistic thought and expression. He especially appreciates Blake's poetic style of "a profound outlook on life is hidden behind a simple appearance" (see Anikst: An Outline of English Literature). Chen also won three philosophical interests in Blake's poems with a little mystery. British poet horsman's so-called "dramatic wiping" technique is good at winning by surprise in the end, resulting in endless artistic effects, and Blake's technique of expressing feelings through poetry. Chen Dou skillfully applied it in his own poetry creation, showing his artistic attainments.
Chen was famous for his poems in the 1930s. He, Wen Yiduo, Xu Zhimo and Zhu Xiang are also called the four great poets of the Crescent Poetry School. His poems were selected into the first English version of China's new poetry anthology published in London from 65438 to 0936-Selected Modern Poems of China. Chen commented on Xu Zhimo's historical contribution in the history of new poetry.
In this small decade, Mr. Shima tried to create a new style of poetry and introduce western poetry ... not only in the form of poetry, but also in the content, he advocated the integration of everything, so that poetry can represent the unmistakable voice of the times or the nation and become the real singing of a person's soul. ("(Narrative of Poetry")
Chen's contribution to new poetry is also in these aspects. However, as Chen said, "He is a man of religious belief, young and talented. What he lacks is a real life and a hard training in life. " (My Poetic Life) Therefore, his voice has never been integrated into the chorus of the people in the NPC era.
1September, 936, Chen got a master's degree and stayed in the Chinese Department of yenching university as a teaching assistant. Since then, he has devoted himself to the study of ancient philology and ancient history in China. Under the guidance of Mr. Wen Yiduo, many crescent poets, such as Sun Yutang, Yu Gang and Sun, have gone from poets to scholars and embarked on the same path. This is by no means accidental coincidence or benefit transmission, but comes from a deep patriotic spirit. As Mr. Wen Yiduo said, I want to be a rut killer. "Because after living in a pile of old newspapers for more than ten years, I definitely and clearly saw us. (Yes, sir) This is Chen's goal.
Archaeologist Chen.
1937 in July when War of Resistance against Japanese Aggression broke out, Mr. Chen Jingwen Yiduo recommended him to teach Chinese in Tsinghua University, Changsha. That autumn, I went to teach at National Southwest Associated University in Kunming.
1in the autumn of 944, introduced by Professor Fei Zhengqing and Professor Tsinghua University King of Harvard University, he went to the University of Chicago to teach China's ancient philology. /kloc-in the summer of 0/947, he traveled to Britain, France, Sweden, Denmark, the Netherlands and other countries. He worked hard abroad with great patriotic enthusiasm and amazing perseverance, and devoted himself to collecting information on Chinese bronzes scattered in Europe and America. 1in the autumn of 947, he refused the request of others to persuade him to stay in the United States and resolutely set off for his motherland to continue teaching in Tsinghua. From 65438 to 0952, he became a researcher at the Institute of Archaeology, China Academy of Sciences, and concurrently served as a member of the academic committee of the Institute of Archaeology, the editorial board of the Journal of Archaeology, and the deputy editor-in-chief of Archaeological Newsletter. Jiefang Mr. Chen devoted himself to teaching and research with great patriotic enthusiasm, made important academic contributions to the study of ancient philology, chronology and ancient history, and won a high reputation at home and abroad. In his spare time, he kept pace with poets such as Guo Xiaochuan and Ai Qing, and wrote some short literary comments and poems describing objects and scenery, which were very popular with readers.
Excerpts from Chen's poems
Chen Shi
A wild flower
A wild flower opened and fell in the wilderness.
Don't think about this little life, smile at the sun,
God gave him wisdom, and he knew it.
His joy, his poetry, swayed in front of the wind.
A wild flower opened and fell in the wilderness.
He saw the sky, but he couldn't see his inferiority complex.
Accustomed to the gentleness of the wind, accustomed to the roar of the wind,
Even his own dreams are easy to forget.
1929 1 month