Rebuilding Classical Style —— On China's Modernist Poetry's Acceptance of Traditional Poetry

The trigger pattern characteristics and anti-traditional posture of new poetry easily make people feel that China's modernist poetry (China's avant-garde poetry after the third generation of poetry entered the post-modernism era, which is beyond the scope of this paper) is opposed to classical poetry from symbolism poetry school, modernism school, nine-leaf poetry school, Taiwan Province modern poetry and obscure poetry to the third generation of poetry in the 1920s. Actually, this is an illusion. Some phenomena are quite intriguing. Why do many new poets, such as Lu Xun, Shen, Liu Bannong and Guo Moruo, go back to writing old-style poems? Why is it that the new poems have a history of more than half a century, but it is difficult for ordinary researchers to recite a few poems completely, and even children of several years old can recite the old poems? Why did Zhao Yiheng, Shi Tianhe and other researchers find that the new literature and art used by Pound and Malamei turned out to be the heritage of our ancestors, and people "suspected that spring scenery was nearby", but it was actually "flowers inside the wall and fragrance outside the wall"? I think they all prove a proposition: in new poetry, including those avant-garde modernist poems in China, the tradition of classical poetry is still strong, and its influence on modernist poetry is not as intuitive as that of western modernist poetry, but it is more subtle, more internal, more deeply rooted in people's hearts and infiltrated into the bone marrow. As long as you analyze it carefully, you will catch all traces of its influence.

Susanna Bernard said of the poet Dai Wangshu, "The westernization in her works is obvious, but China is overwhelming."

Wind "[1], French scholar Michel? Lu said more directly that modernist poets influenced by western literature, such as Bian and Ai Qing, are all from China in essence. These are insightful academic judgments, which sum up a * * feature of China's modernist poetry, that is, most of his works only inherit the skills of western poetry, while symbolic thinking, image system, especially emotional composition, are rooted in the East.

Traditional poetry mainly includes two feelings, advance and retreat, that is, to help the world and be poor, to be alone. In this complementary cultural structure of Confucianism and Taoism, the group has always been valued over the individual, and WTO accession is a positive example. According to individual standards, China's modernist poetry seems to be associated with western culture which is arbitrary and exclusive. However, there is an essential restriction and extension to the spirit of traditional poetry behind the spiritualization of traditional poetry, so there are always two threads running through it. One is the feelings of joining the WTO, and the other is the whimsy of being born. The first trend is its mainstream, such as Mu's "Heart Caution", Wang's "Hanging Rome", Xin Di's "A Journey to Paris", love and a large number of Taiwanese homesick poems all belong to this theme. The deep cultural connotation in their sad style is based on the mentality of their home country's entry into WTO. Yuan Kejia's "Shanghai", Du Fu's "The Chaser of Price" and Love's "Tooth Picking" all take impersonal feelings as personal views and suddenly expose the darkness of reality. Like picking teeth, they wrote, "People all over the world are picking their teeth with white toothpicks/picking their teeth peacefully/white teeth/a group of vultures flying from a pile of corpses. The contrast between satiated food and hunger everywhere is similar to "the wine and meat in Zhumen stink/the road freezes to death". That kind of worry about life and ultimate concern for all sentient beings is a touching flash of humanistic spirit in traditional poetry.

As for the cultural orientation of misty poetry, it is more related to the fate of the nation. Poets often start from self-awareness, use the fire of soul pain to ignite the fire of mankind, history and times, and put "man" in the field of nationality and history to explore the value of man. This pursuit makes misty poetry form a unique psychological mechanism-the road that the poet's mind has traveled is the road that history has traveled. Listen to Shu Ting's deep sigh of "Boiling Me" in Motherland, My Dear Motherland, watch Gu Cheng's melancholy song of "Lost Me" in "It's the Loess Road in Winter", and think about the vigorous singing of "Meditating Me" in the river in "The Sun and its Reflection". Readers will touch the hearts of poets who love the times, even if it is the personal pain in the bass area of life. It is also a recasting of the younger generation's mentality of doubting tradition, thinking about reality and looking forward to the future. The spirit of persistent struggle in his poems, the consciousness background of joining the WTO to help the world, the lofty sense of mission and tragic beauty of poetry involved in reality all declare the recovery and victory of traditional poetry aesthetics.

It was Pasternak in Wang Jiaxin in the 1990s who voiced for the times and history, showed sympathy for others, and showed anxiety for those who had no concept of fate. The authenticity of his text itself constitutes a condemnation and flogging of that cruel, hypocritical and morally deficient era. Even the sober tiredness and denunciation contained in Sha Yi's Investigation Report on China's Poetry is not only a modern deformation of the traditional sense of hardship, but also a personalized promotion of intellectuals' critical spirit. China's modernist poems are filled with whimsy of entering the world and leaving the old realm of Buddhism. Li Jinfa, Hu Yepin and others. The infatuation of symbolic poetry school with love, the typical series of "mountain dwelling" poems of modern poetry school, the individual loneliness and narcissism complex of "the third generation poems", and the meditation on the essence of life in Taiwan Province's modern poems, including the infatuation of some poets in the 1970s with body utopia, are all internally related to the traditional fashion of Tao Yuanming picking chrysanthemums and talking with literati in Wei and Jin Dynasties. China's modernist poetry's feelings of entering the world and strange thoughts of being born are exactly two sides of the spirit of traditional poetry, which is a response to the spirit of "worrying" and "falling in autumn" since Qu Song. Its deep and sad tone is related to the chaos and suffering of reality and the sensitivity and fragility of the poet, but its more essential and hidden root lies in the influence of the atmosphere of the times outside the poet's life experience and the lyric tone of traditional poetry, because classical poetry is "happy" about this issue. Look at Dai Wangshu's lingering sadness in his life, and then think about the sadness of Li Yu's poems in the late Tang Dynasty and the Five Dynasties. The answer is self-evident (of course, the ugliness and meanness of the third generation of poems and later poems are more the result of leaning towards western modernism and post-modernism).

Secondly, classical poetry cultivated the implicit aesthetic taste of China's modernist poetry. When talking about the relationship between new poetry and classical poetry, Zheng Min, an old poet, hit the nail on the head when he said that "the highest aesthetic index for evaluating classical poetry is the realm". [2] In terms of experiencing emotions, China people don't always put their hearts first like westerners, but are good at relying on emotions in things, or conducting subjective telepathy and * * * vibration. This spirit of blending scenes, expressing things and writing aspirations is the essence of the artistic conception theory of oriental poetry. Liu Xie in the Southern and Northern Dynasties attached great importance to this and put forward the theory of "the tour of supernatural beings". After the transition from the concept of harmonious artistic conception, Wang Guowei directly put forward the theory of artistic conception in Qing Dynasty. Therefore, the purely one-dimensional China is "the beauty of ancient poetry, seeking for images", such as looking at flowers in the fog and looking at the moon in the water, revealing a faint beauty of light and color. Artistic conception, the essence of traditional statutes, is naturally inherited by China's modernist poetry, and consciously communicates with western image art in practice, using external images as a whole to match and contrast internal feelings, so as to achieve the effect of transcending images and having substance in words.

In the 1920s when symbolism prevailed, Li Jinfa's poems lacked harmonious images and details, and the artistic conception was fragmented and fell into an obscure abyss. Mu Mu's Poems "Falling Flowers" unify the relationship between scenery well. During the ridge, pastoral and garden period of modernism, due to the emphasis on the integrity of texture, there is always a complete spiritual breath or emotional appeal in the bones of classical aesthetics, such as Bian's artistic conception, He Qifang's emotional appeal and Dai Wangshu's both. Poems such as Autumn Afternoon by Xin Di, a nine-leaf poet, also bring many images to the emotional point, forming a compound organism of blending things with me. In Zheng Min's Golden Rice String, rice string, mother, history and human thought are logically unrelated, but they are subject to the philosophical proposition of "great fatigue" which runs through the whole poem. On the contrary, * * * weaves a quiet and deep autumn statue, gaining the same emotional space, which is a compliment to the mother and an indirect backchat to the inverted social problem of worker poverty.

In this respect, the modernist poetry in Taiwan Province Province is more distinctive. Zheng Chouyu's Border Hotel, Yaxian's London and Roma's Four Strings of the Violin all tend to innovate and transform the skills, images, artistic conception and vocabulary of classical poetry. "If you want to cross it, you can become homesick in one step" (Border Hotel) can be regarded as a comprehensive specimen in this respect, which can remind people of Wei's famous works. Yang believes that the only constant in poetry is the artistic conception of poetry, which has turned it into a typical oriental poem, in which classical poems and paintings circulate, fragrant and lascivious; Ye's admiration for Wang Wei's poems seems to be more influenced by the way of thinking, especially those who converted to Taoism. Its name itself originated from the allusion of the Duke of Zhou's dream butterfly. He is very devoted to Zen in Wang Wei's poems, and his poem Moment embodies the wisdom of Eastern Zen. "When I am shocked/when I fall in love with something ... eternity-a little bit of' now' in an instant/the earth is as small as pigeon eggs/I gently pick it up/put it in my heart", which is a philosophical thought I have learned from my life experience and emotional love: a moment is eternity, and eternity is a moment, which is also pure and detached.

Even the misty poet Shu Ting's Missing and Gu Cheng's Warmth in Winter have coquettish and flowing beauty, or impressionist pictures. The former uses nine unrelated images to annotate and visualize the painful vortex of missing, which is endless expectation and can never be realized. It is clear and elusive, just like the famous phrase "Yichuan Smoke/Mancheng Flour/Plum Yellow" only provides an emotional atmosphere; The latter reveals a few warmth and spring in the cold picture, which highlights the vibrato of the poet's soul. It makes people feel some kind of emotion, but it's not true.

Even in the 1990s of anti-imagery, narrative third-generation poetry and personalized writing, there are still some poets who cling to the classical artistic conception and image category. Or in the process of presenting things clearly, he inherited the implicit aesthetic taste of China's ancient poems. The artistic conception of Ninglang and Dai Wangshu's whole poem Rain Lane, as well as the desalination and reconstruction of the sentence "Lilacs are sad in the rain" in Jing Li's Spread the Huanxi Sand, are in line with the inherent spirit of ancient poetry that cloves symbolize beauty and sadness, and the artistic conception coincides with the Book of Songs? In Jian and Li Sao, "looking for women" uses "looking for women" as a metaphor to pursue the ideal model. Not to mention He Qifang, Yu Guangzhong and Zheng Chouyu's transformation of the artistic conception and image of ancient poetry. China's modernist poems inherited the classical artistic conception of harmony between subject and object and the unity of things and me. On the one hand, it makes art go to a world with simple exterior and thick interior, implicit implication and endless tension; On the one hand, it also makes the imagery and symbolism of the poem full of classical spirit, which makes people feel more cordial.

China's modernist poetry, once again inspired by classical poetry, advocates musicality and painting beauty. When reading China's realistic poems, many people always have an intuitive impression that music painting is still very marketable. This is naturally related to symbolic poets such as Valery and Rambo. Almost all symbolist poets have expressed their feelings about formalism. Wei Erlun said that "music is the most important thing in all things". Mamei wants to create music "pure poetry", which can cause different illusions and tastes. Rambo prefers color and illusion, and thinks that poets should be "psychics". They raised the formal factors such as music to an unprecedented position, which is the basic component of their works. But this impression should be attributed to the hidden radiation of classical poetry.

Because China's poems, from The Book of Songs, Songs of the South, Yuefu to Tang poetry, Song poetry and Yuanqu, all took a road of marriage with music and painting. Bai Juyi's Pipa is famous for its melodious syllables, and Su Dongpo praised Wang Wei's integration of poetry and painting. China's modernist poetry inherits and develops the characteristics of the singing of the rhythm of classical poetry and the visibility of the tone of the picture, and strives to realize the consciousness of form. Sometimes, he even tried to rely on the interaction and integration between works of art and the systematic mobilization of sound, color and shape to urge poetry to approach music and painting, restore its full value in the beauty of music and painting, and achieve the situation that form is content. Li Jinfa, who is divorced from the cultural subject and national language environment, has not paid enough attention to this issue. The complex images of pure western style and the loss of ordinary laws make his poems lack musical beauty, but his good understanding and painting training also make him write some poems with harmonious tone and neat rhythm, such as Fa and Hometown.

However, the three poets in the later period of Creation Society were more conscious, standardized and perfect. In view of the present situation of rough form, flat surface and loose and disorderly style in poetry circles, Mu has always been "sentimental in the distance" in his creation, emphasizing that poetry should be "a continuous rhythm in a detached state", "achieve unity and continuous unity" and "poetry should have both formal beauty and musical beauty". The waves of melody that vibrate on people's nerves are visible, invisible and intangible. If you hear distant voices in the thick, if you wander in the dusk, if you can't move the faint light, if you tell unspeakable feelings, that is the world of poetry. "[3], that is, the fluctuation of things to express inner fluctuations. The rhythm of his poems, such as the breeze and drizzle, the smoke at dusk and the secluded path in the distant mountains, really coincides with the rhythm of hazy sadness and melancholy. Wang's "Rose" interweaves timbre feelings and combines motion and static to create a high aesthetic realm of "color listening", that is, "sound painting". The tone, rhythm and artistic conception of "I Come Out of the Cafe" are essentially unified, and the appearance of the poem is a reproduction of the wobbly physical and mental course of the drunkards. Incoherence is the carrier of intermittent ups and downs after drunkenness and the spiritual fragment of modern people's sense of homelessness.

Landscape (II) by Lin Hengtai, a modern poet in Taiwan Province, and Wanderer by Lu are both illustrated poems, which are mixed with the double experience of reading and watching. Landscape (II) is poetic in meaning and form. It is impossible that the sentence pattern is simple, the language is simple, and the beauty of symbols and hints is completely invisible. The sentence structure in geometric space and the spatial layering of serial syntax give people an endless sense of windbreak, which is layered and continuous. The arrangement of the last two lines of waves reinforces this feeling. Infinite space and scenery, infinite beauty.

The exploration of some image poems in the third generation poetry also belongs to this field. If most of the above works focus on the creation of the beauty of painting, then Rain Lane by Dai Wangshu is praised as "opening a new era for the syllables of new poetry" because of its overwhelming musicality, which runs through the six rhymes and repeated melodies throughout the whole article and shows the poet's lingering sadness in ups and downs. Although the later creation of My Memory violated musicality, My Thought was written in the 1940s. Shu ting's two-masted boat, Yu Guangzhong's homesickness,

Zheng Min's "pond" is a chapter in which music and painting are intertwined. The third generation of poets even praised the sense of language, that is, language automatically presents a feeling state of life. For example, Yu Jian's "Friends from afar" seems to give you all the languages, that is, the natural rush of life rhythm: a friend who has never met before wrote to say that he would visit, and in an instant, the poet flashed several scenes when he met, each of which was ridiculous and reasonable. This is a calm reflection of lifestyle. This generation is warm and calm on the surface, but lonely and helpless inside. Their minds are good at fantasy, but they are at a loss, and they have some expectations and fears for the world inexplicably. It regards the sense of language as the soul of poetry, and realizes the integration of poet, existence and language through it. Sometimes even the semantics are not important, the sense of language becomes a self-sufficient language ontology, and the construction of audio-visual images is the completion of semantic information. From the pursuit of musicality and painting beauty in China's modernist poetry, it is not difficult to see that poetry should talk about some rules like playing chess. Rules can not only increase the aesthetic feeling of form, but also play a role in the proliferation of meaning.

It should be pointed out that the acceptance of classical poetry by China's modernist poetry has never been isolated and unidirectional. On the contrary, it has always been accompanied by the absorption of western modernist poetry. In other words, China's modernist poetry is open to the outside world with two reference systems, namely, classical poetry and western modernist poetry, and consciously combines horizontal transplantation and vertical inheritance, oriental wisdom and western art, thus realizing the orientalization of western poetry and the modernization of classical tradition with deviant creation. It formed Youzhuo's aesthetic personality: it fell in love with the quality of western modernist poetry that pays attention to holistic thinking and abstract thinking. Instead of smuggling foreign culture into Shiyang, it eliminated its absurdity of self-expansion, nihilism and alienation; It is famous for its unique anxiety and understanding, artistic conception and conciseness in classical poetry. It does not show off the traditional splendor, but it gets rid of the dull rhythm and perceptual nature. It chooses Chinese and Western heritages, integrates new machines at the same time, conveys realistic feelings with artistic skills with modern charm, and creates China's modernist poems.

If the reference of modernist poetry to western modernist poetry broadens the poet's vision and enriches the artistic skills of poetry, then its inheritance of classical poetry ensures that it gradually gets rid of the imitation and imitation of western poetry and moves towards an independent nationalization road. China's modernist poetry also provides rich historical enlightenment for the inheritance of classical poetry. The more vital the national poetry is, the more widely it can be recognized by readers. Only by keeping an open attitude and learning from the advantages of classical poetry can new poetry get a "ticket" to the world art trend. However, in the process of opening up, we should cultivate the ability of digestion, and strive to modernize the traditional artistic experience just like localizing foreign artistic experience.

[Reference].

[1] Susan? Bernard? Life dream [J]? Reading, 1982, (7)?

[2] Zheng Min? Writing new poems in tradition [J]? Hebei Academic Journal, 2005, (1)?

[3] Mu Tianmu? Tan Shi [M]? China's Modern Poetry Theory (I), Guangzhou: Huacheng Publishing House, 1985: 98?