First, early vernacular poetry

The May 4th literary revolution began with the practice of writing vernacular poems. A considerable part of the "eight things" in Hu Shi's "Improvement of Literature" are aimed at the poetic revolution, such as opposing the antithesis of allusions, opposing the meaningless moaning of old poems, abusing cliches and advocating the abolition of parallel prose. In my view of literary improvement, Liu Bannong also actively advocated the poetry revolution, and put forward some concrete suggestions, such as "adding blank poems to rhymed poems". 19 19, Hu Shi published a long article "Talking about New Poetry", and put forward a series of constructive opinions and opinions on new poetry. Under the guidance of the theory of vernacular poetry, the creation of vernacular poetry has gradually formed an atmosphere. The first batch of vernacular poets appeared, such as Hu Shi, Liu Bannong, Zhou Zuoren, Shen and Kang.

(A) Hu Shi's "Trial Collection"

Hu Shi's Attempt Collection is China's first new collection of poems, which was published in 1920. Compared with the goddess, its idea is

The significance and aesthetic value of Goddess are far less than that of Goddess, but from the perspective of China's modern poetry history, it is the first collection of vernacular poetry, which provides some new things with modern characteristics and begins to take shape in the form of China's modern lyric poetry.

Generally speaking, Trial Collection is a new collection of poems with progressive ideological content, and its general ideological tendency is in tune with the spirit of the May 4th Movement. For example, authoritarianism expresses the ideal and necessity of changing the dark status quo and breaking through feudalism. The rickshaw puller reflects the miserable life of the lower class workers and gives them humanitarian sympathy. Pigeons praise the free flight of pigeons, which shows the requirements of pursuing freedom and personality liberation. These are all of positive significance.

From an artistic point of view, the level of trial collection is not high, but we should still affirm the pioneering work of China's new poems. Its main value lies in its bold attempts in the liberation of poetic style, poetic white discourse, phonological rhythm and so on, which is the first to open up the atmosphere.

As the earliest defector, he has the deepest bondage, and what they want to resist is themselves. Hu Shi's early works are mostly the products of struggling in the old influence and atmosphere.

Attachment: "Butterfly"

Two yellow butterflies are flying in the sky.

For some reason, one flew back.

The other, lonely and pathetic.

I have no intention of going to heaven. It's so lonely in the sky.

② Other poets in early vernacular poems.

Among the early vernacular poets, such as Hu Shi, Cao Kang, Xie, Moonlight Shen, Liu Bannong, etc. Among them, Liu Bannong wrote The Whip Collection, and his poems widely reflected the social reality and the life of the lower working people. His first novel, A Layer of Paper, is ingeniously conceived. Through a layer of paper inside and outside the house, it depicts two different worlds of sharp opposition between the rich and the poor, and generally reveals the extremely unreasonable phenomenon of "the wine and meat in Zhumen stink, and the roads freeze to death" in the old society. His famous work is 1920, Teach me how to think about her. (P2 1 1) is an excellent poem expressing deep sadness and love, which was sung by the famous phonologist Zhao Yuanren in a harmonious Schumann melody at home and abroad. ).

In the early vernacular poetry creation, it was Zhou Zuoren who borrowed the modern techniques of western poetry earlier and got rid of the old shackles completely. His River is praised by Hu Shi as "the first masterpiece in new poetry", and it is a figurative poem that "scenery and emotion are integrated, and emotion and reason are integrated". It has two meanings: by describing the threat to the creatures on both sides of the strait caused by dike construction, it advocates conforming to the laws of nature, maintaining ecological balance and respecting people, and violating the laws of nature will be punished by nature; The profound meaning is: compare the "river" to the people's feelings, and borrow the old saying that "people are still water, and water can carry a boat and also overturn it." If the river is not guided correctly, it will be flooded. In the poem, it is written that a river flows steadily forward, and farmers will build weirs to stop it. "You can't go forward, but you can't go back. The water just turns in front of the weir, followed by the troubles and worries of mulberry trees and rice seedlings. " It shows the poet's ideological contradiction at that time: he not only demanded to break the feudal net and realize the liberation of personality, but also worried that the mass movement was unstoppable and went too far. In terms of artistic expression, The River adopts symbolic and anthropomorphic techniques, and completely gets rid of the old shackles in form and pursues the natural rhythm.

Generally speaking, the vernacular poems in the early May 4th Movement are qualitatively different from the old poems in language, form and ideological content. The early vernacular poems mainly showed the tendency of prosaic culture in form, and basically did not use rhyme, regardless of level and level. With the ups and downs of their feelings, they exchange long and short sentence patterns and use more "line drawing" techniques to truthfully describe specific life scenes or natural scenes. In the content of poetry, the early vernacular poems are consistent with the spirit of the May 4th Movement, with the basic theme of criticizing and denying feudal autocracy, showing the requirements of striving for individual liberation, democracy and freedom, resisting the dark reality and yearning for bright ideals. The early vernacular poems may still be childish and have traces of groping for progress, but they have undoubtedly made historic contributions to the formation of the mainstream of realism in modern poetry in China.

Second, Huxiang poets and short poems.

(1) Lake poets

The new poems of 192 1 have basically gained a firm foothold, but they are facing new internal crises and new breakthroughs.

The flattening tendency of early vernacular poems was first challenged by the poets of the Creation Society, who highlighted and emphasized the two basic elements of emotion and imagination. Guo Moruo's Goddess has brought the lyrical essence and individuality of poetry into full play. Bold imagination has made the wings of poetry soar, making Goddess the cornerstone of modern China poetry.

Following Goddess, in 1922, Wang Jingzhi, Pan Mohua, Yingxiu and others published their poetry anthology Lakeside, and in the same year, Wang Jingzhi's personal poetry anthology Wind of Hui was also published. In the history of literature, these four poets are called "Huxiang poets". They are all poets born in the new century, and they are all a new generation bred by the May 4th spirit. Compared with the pioneers of early vernacular poems, they are less influenced and bound by old poems. Hu Shi immediately said: "I look at these completely liberated young poets now, just like a woman who wraps her feet around and then lets go. I look at the girls who are really jumping around, jealous in my eyes and happy in my heart." For the preface, see Wind of Wisdom. Their poems are children of the May 4th Movement in the true sense, and they are "honest young vernacular poems that are not contaminated with the habits of old articles." (Fei Ming "Talking about New Poetry"). Their singing of straightforward and innocent love and bold dissection of the inner world constitute the characteristics of Huxiang poets. Among them, Wang Jingzhi is the most representative.

The publication of Wind of Hui from 65438 to 0922 caused a sensation in the poetry circle. The poems that boldly and directly express love in the Collection of Poetry have aroused widespread concern and debate, so the Wind of Hui has become a masterpiece of resisting feudalism and striving for individual liberation during the May 4th Movement.

Wind of Hui-Wang Jingzhi (P220)

Sister, you are Shuiying Hideyoshi.

Sister, you are water-

You are the water in Qingxi,

Calm the daily flow, carefree,

Really laugh a lot,

Naturally I forgot to go home.

Natural, frank, fresh and pure as a stream, love poems come from Yingxiu people and lake poets.

From the content, most of them describe love. This large number of love poems not only shows their similarities and differences, but also shows their unique contribution to China's new poems. They dare to break through the net of feudal ethics and express their love between men and women boldly and frankly. Before that, the free poems praising love were not as bold, true and enthusiastic as lake poets's, but they were not vulgar and obscene. In the introduction of China New Literature Collection, Zhu Ziqing pointed out that "China lacks love poems, and some of them are only' remembering the inside' and' sending the inside', or works with profound meanings; There are very few people who confess, and there are no people who sing love for love. " And "the four young people who really concentrate on making love poems are' lakeside'".

(B) Bing Xin as the representative of the "small poetic style" creation

1923 published Bing Xin's Stars, Springs and Zong Baihua's Cloud Poems, which aroused people's concern and interest in the style of short poems.

Poetic style was introduced from abroad, and it was produced under the influence of Japanese short songs and haiku translated by Zhou Zuoren and Tagore's Birds translated by Zheng Zhenduo. The main authors are Zong Baihua and Xu Yunuo.

Short poems are improvised short poems, usually composed of three or five lines, or even one or two lines (at most, only a dozen lines), which express the author's sudden feelings and thoughts, imply and embody a philosophy of life and beautiful sentiments, and make readers have rich associations. The creation of short poems is concise, implicit and suggestive, and wins by implication.

Bing Xin is a representative poet of Xiao Shi School. Her two collections of poems, Stars and Springs, contain 346 small poems, the basic themes of which are to eulogize maternal love, childlike innocence and natural beauty. For example, "spring water. 105":

Creator-

If in eternal life,

There is only one blissful promise,

I want to sincerely beg:

"I'm in my mother's arms,

Mom's on the boat,

The ship is at sea in the moonlight. "

The trinity of me, my mother and the sea constitutes the most harmonious picture in the world. In the second part of Stars, Bing Xin shouted:

Childhood!

This is a fact in the dream,

This is a real dream,

Memories are tearful smiles.

The poem consciously praises childhood and compares it to "the truth in a dream", "the dream in reality" and "a tearful smile when recalling". Childhood is often innocent to the adult world, and the recollection of childhood is an attachment to pure and beautiful things, which embodies the desire for truth, goodness and beauty. However, childhood is short and never comes back. It can only exist as a memory or a dream outside people's brains. This kind of attachment and sigh to childhood arouses readers' cordial and true feelings.

Maternal love is the core content of Bing Xin's philosophy of information processing. Bing Xin regards maternal love as the noblest feeling of human beings, and her mother once gave her "unforgettable kindness and gentleness".

"mom!

The wind and rain in the sky are coming,

Birds hide in her nest;

The storm in my heart is coming,

I only hide in your arms.

Through analogy, I praised the greatness of maternal love, and the word "only" revealed that my mother was the only refuge in my heart. This deep attachment to our mother has brought us into a gentle emotional experience.

There are also some philosophical ones, such as "it is not the rolling waves that create new land/but the tiny sediments below it." Show abstract philosophy through concrete images. This paper shows the poet's philosophical thinking through the contrast image of rolling waves and small sediment. Rolling rough, thrilling, tiny sediment caught in the waves, ignored. These two images are in sharp contrast, big and small, giant and small, obvious and hidden, but it is microwaves and unknown sediments that created this land. In the external and internal contrast of things, we can tell a thought-provoking philosophy of life.

Bing Xin's poems are deeply influenced by Tagore, fresh and profound, elegant and meaningful.

Among the small poetry schools, Zong Baihua's Cloud Poetry was published in 1923. In this collection of poems, the poet's best areas are the harmony between the poet's mind and nature and the rhythm of social life. For example:

For a moment, I felt that my little body was a little star.

Ran Ying, Wan Li and idolize.

After a while, I felt that my heart was a mirror.

The Wan Li of the universe shines in it.

Here, when looking up at the starry sky on a summer night, the subtle change of people's self-feeling in an instant was keenly grasped by the poet, which triggered people's long-term thinking about people's position in the universe. Zong Baihua's short poems are unique in China's modern poems because of their metaphysical and fantastic colors.

Third, the standardization of new poetry-the early crescent school represented by Wen Yiduo and Xu Zhimo.

At the beginning of the "literary revolution", in the fierce confrontation between vernacular Chinese and classical Chinese, Hu Shi and others proposed that poetry should be spoken, which freed poetry from the shackles of thousands of years old poetry. However, with the great liberation of this poetic style, new poetry has a tendency to spread culture. The poet asked the new poem to break the format of five words and seven languages in form, break the level of words in syllables and abolish rhyme.

It is in this context that the Crescent School, represented by Xu Zhimo and Wen Yiduo, began to vigorously advocate new metrical poems. 1926 Wen Yiduo put forward the three beauties of poetry, that is, "the power of poetry includes not only the beauty of music and painting, but also the beauty of architecture." Xu Zhimo's "Poetry" magazine also pointed out that poetry, music and art are of the same nature, so we should pay attention to discovering new formats and chapters, because "a perfect body is the only expression of a perfect spirit"

These measures of the Crescent School shifted the focus of poetry creation from the "vernacular" poetry that early vernacular poets paid attention to to to the "poem" itself, that is, "making the poem into a poem", which, to a certain extent, corrected the confusion caused by the too loose and free writing attitude in the early new poetry creation, and made the new poetry tend to be refined and centralized, and the form was relatively standardized. Since then, metrical new poetry and free verse have always been two main styles of new poetry, which compete with each other and promote each other, and have played an important role in promoting the development of new poetry.

Although the Crescent poets have the same pursuit, they pay more attention to their unique artistic personality, and poets with distinctive personal styles have emerged, such as Wen Yiduo, Xu Zhimo, Zhu Ting, etc. They consciously experiment with new poetry.

Next, we will analyze the works of Wen Yiduo and Xu Zhimo, the main representative poets of the Crescent School, and see how they practice the new metrical poems.

I. Xu Zhimo (1896— 193 1)

A native of Haining County, Zhejiang Province, studied in Peking University in his early years, went to the United States in 19 18, studied at Columbia University in new york, studied political economy at the Graduate School of Cambridge University in England in 1920, and began to write poems in192/0. He was deeply influenced by Anglo-American romanticism and aestheticism. /kloc-returned to China in 0/925 and became a professor at Peking University and Tsinghua. In the same year, he published his first collection of poems, Poems of Zhi Mo, and became the leader of the Crescent School. Later, he published A Night Frozen Jade, Tiger, Cloud and Wandering (written by a friend after death). 193 1 year 1 1 month On the way from Shanghai to Beijing, he was caught in a fog, hit a mountain and died in a plane crash at the age of 36.

Xu Zhimo enthusiastically pursued love, freedom and beauty all his life, and eagerly hoped that people would love each other, demanded absolute freedom of personal behavior and longed for a better artistic life. This is the expression of his individualism and humanitarianism, and it is also the ideological feature of his poems. The pursuit of these ideals complements his lively, natural and unrestrained personality and bold talent, forming the unique artistic style of Xu Zhimo's poems.

Let's discuss Xu Zhimo's thoughts and art through his masterpiece Farewell to Cambridge.

Farewell to Cambridge, selected from Tiger, written in 1928. Cambridge is an academic and cultural scenic spot in Britain. Cambridge embodies the poet's idealized pursuit of the British bourgeois democratic country, and places his admiration and yearning for this ideal. However, after returning to China, his dream was shattered by the dark reality at home. He revisited his old place at 1928 and wrote this poem on his way home. With the help of He Kanghe's scenery, the poet recorded the rhythm of the poet's mind, and revealed a touch of sadness and melancholy through ethereal and elegant poems.

In the first section of this poem, the poet enters the poem with his self-image, "I left gently/just as I came gently/I waved gently/made my motherland;" Say goodbye to the western clouds. The three words "gently" are used here, which seems to be for fear of overflowing the feelings of parting, so we say goodbye gently and walk gently, which is not without sadness and appears subtle and euphemistic. Clouds in the Western Heaven is true and false, which implies the poet's regret for the fleeting and beautiful ideal.

The last six verses are the main body of the poem, expressing the poet's life and ideals in Cambridge in his early years, as well as his disillusionment and dream pursuit.

"The golden willow by the river/the bride in the sunset/the beautiful image in the waves/the ripples in my heart. Express admiration for the Democratic Party.

"The green grass on the soft mud/oily swaying in the water/in the soft waves of He Kanghe/I would like to be a water plant. Facing the gentle charm of He Kanghe, the poet "would like to be a water plant" bears the caress of He Kanghe. Here, He Kanghe's scenery is personified, and at the same time, his own feelings are materialized. In the exchange of feelings, the image of Cambridge is integrated with the poet's feelings, showing a far-reaching artistic realm of feeling starting from the scene, feeling moved by the scene and intertwined with the scene.

In the fourth section, I wrote about my disillusionment with the broken shadow of the rainbow reflected in Qing Tan.

"That pool under the shade of elm is not a clear spring, but a rainbow in the sky/broken in floating algae/rainbow-like dream. The rainbow in the sky passes through the dense elm shade and is reflected in the clear water. It is colorful and beautiful like an elephant. The poet also had a dream, but it seemed to be shattered, so it naturally led to five or six dreams.

Section 5 "Dreaming? Hold up a long pole/walk to greener grass/load a boat of starlight/sing in the splendor of starlight. The poet fantasizes that he will sail into the ideal realm of prosperity with a long pole and a boat, as he did in those years, and then sing aloud.

Then in the sixth section, the word "Dan" was changed, and the poet returned to reality from fantasy, and his poetry also took a sharp turn, from elegant and free and easy to depressed and deep. "But I can't sing/Silence is a farewell toast/Summer insects are silent for me/Silence is Cambridge tonight.

In the last section, the poet reappeared, echoing the first section and conforming to the lyrical atmosphere of the sixth section, the poet quietly left. "Quietly, I left/just as I came quietly/I waved my sleeves/I didn't take away a cloud.

Gently replaced by quiet, showing the echo from beginning to end, but also showing repeated feelings of parting, but also infinite melancholy and loneliness.

Of course, "not taking away a cloud" can't be taken away. Let Cambridge be preserved in the most complete appearance, and let the past dreams and feelings remain intact in the memory, which shows the poet's cherish of the old dreams, but at the same time it is not without melancholy.

Generally speaking, Farewell to Cambridge expresses the poet's love and attachment to the scenery of He Kanghe with its light language and soft charm, which typically reflects the poet's ethereal, light and implicit writing style. As the soul of the crescent society, this poem also has the "three beauties" pursued by the crescent school.

First of all, the architectural beauty is neat and symmetrical. The poem consists of seven sections, four lines in each section and six or eight words, which not only embodies the symmetry of the sections and the uniformity of the sentences, but also avoids the rigidity and formality of the "tofu block" style. At the same time, we pay attention to the art of "cloth color" and describe the scenery of He Kanghe River. All colors are well prepared and well proportioned. The magnificence of "Golden Willow in Sunset", "Oil Green as Jade", "Rainbow" and "Starlight" all radiate the beauty of painting with gorgeous colors and soft gestures. Linguistically, the rhythm is harmonious and slow, the whole poem is not a rhyme at the end, and each verse naturally changes rhyme. It is dexterous and light, expresses the flow of emotion with the flow of rhythm, is smooth and pleasant, and gives people the enjoyment of musical beauty.

In addition to this poem, Xu Zhimo also wrote a lot of classic love poems, which is the most distinctive part of his poems. Based on his own emotional experience, Xu Zhimo expressed his pursuit of pure and noble love and frankly eulogized it. For example, "The Happiness of Snowflakes" takes "Snowflakes justify themselves, and the image of flying snowflakes is pure and continuous, subtly conveying the persistent pursuit of love and beautiful ideals". At the same time, it accurately reflects the poet's elegant and agile personality, and reads as if there is a happy elf flying between the lines. "A Night of Cold Jade" and "Accidental" "I am a cloud in the sky, which occasionally projects into your heart-you don't need to be surprised, let alone happy. -It was gone in the blink of an eye. And so on, but in Nora on the Shore, there are only four sentences in the whole poem, which captures the girl's farewell gesture at that moment and vividly shows the readers the "gentle" and "shy" voice and smile of Japanese girls in a few words, which is unforgettable. However, the ending sentence "Poem Anna La" has another aesthetic meaning of words and music that is difficult to express. It is this poetry from the depths that makes Xu's poems unique.

These fairy-tale sentences are fascinating to read and make people forget the smell of fireworks. -Lu Xiaoman.

Artistic features of Xu zhimo's poems;

First of all, there are diverse expressions, ingenious ideas and novel images. He has written many love poems, but because he pays attention to the change of expression techniques, he has no sense of similarity. The choice of images is appropriate and original, such as the snowflake in The Joy of Snowflakes. Baby symbolizes the author's yearning for the bourgeoisie and ideals with a pregnant woman's hope for the baby in her womb, which is unconventional.

Secondly, it is the beauty of gentle rhythm and harmonious rhythm. For example, in the first four sentences of Zai, three "gentle" rhythms are lightly repeated, resulting in a lot of light rhythms in lingering. In a large number of his four-line lyrics, overlap, repetition, parallelism and duality are often used.

Third, the finishing components are flexible and diverse. Xu is a representative poet of Neo-Metric School, and he attaches great importance to the form and creation of poetry. Most of his poems are four lines and one section, but the style, composition and rhyme have changed, and the arrangement order has also changed, showing a flexible and diverse style. For example, there are four lines in each section of Zai, which rhymes alternately. One third is slightly shorter and two quarters is slightly longer, which is roughly eight words. The length of the lines is patchy, roughly neat and symmetrical.

Finally, the rhetoric is gorgeous, the style is bright and beautiful, and the words are rich.

Xu's poems effectively practice Wen Yiduo's three beauties, with the amazing beauty of pure poetry, full of passion and inspiration, and form a graceful style with elegant soul, clear beauty and bright beauty.

Second, Wen Yiduo (1899- 1946)

Wen Jiahua, a native of Xishui County, Hubei Province, studied in Tsinghua University in his early years. 1922- 1925 studied in the United States for three years, majoring in painting and studying literature and drama, deeply influenced by American romanticism and aestheticism. The first book of poetry, Red Candle, was published in 1923. Most of the selected poems tend to be aestheticism, emphasizing subjectivity, sensibility and fantasy, but they also show the poet's patriotism, homesickness and yearning for light and ideals. For example, "I want to praise the flowers of my motherland, I want to praise my flowery motherland". The song of the sun expresses the yearning for my hometown. "The sun-the swift sun-lets me ride you around the earth once a month, so that I can see my hometown once a day."

1925 After returning to China, Wen Yiduo began to abandon aestheticism, wrote some poems that profoundly reflected the reality and attacked the darkness of society, and included them in the second collection of poems, Dead Water, and actively explored the form of new poetry, putting forward the "three beauties" of poetry. Red Candle is mostly a free style, while Dead Water has obviously changed its poetic style and turned to a metrical style. With the practice of his new metrical style, it became Wen Yiduo's unique contribution to the development of new poetry.

After that, Wen Yiduo taught in Wuhan University, Qingdao University and Tsinghua University successively, and devoted himself to the study of classical literature. 1in July, 946, Wen Yiduo was furious at the meeting between Li Gongpu, a democracy fighter killed by the Kuomintang, and people from all walks of life in Kunming, and published "The Last Speech", denouncing the criminal acts of the Kuomintang. After the meeting, he was killed by Kuomintang agents on his way home at the age of 47. He completed his glorious life as a poet, scholar and democratic fighter.

Written in April of 1926, Dead Water depicts the dark and corrupt social features of old China with very refined language and the help of the stench of stagnant water. Expressed the poet's resentment.

The success of Dead Water lies, first of all, in the author's twists and turns in revealing the poet's anxiety and anger with strange metaphors and symbolic images with far-reaching implications. The first verse of the poem uses novel metaphors to break the theme, comparing the semi-feudal and semi-colonial old China to "a ditch of desperate stagnant water", which is filthy, stagnant and decadent to the point where "the breeze can't move at all". The "stagnant water", "cool breeze", "junk" and "leftovers" here all contain symbolic images.

In the second, third and fourth sections, the author describes the ugly corruption in Dead Water in detail by means of irony and irony. Poets use beautiful images such as "Emerald", "Peach Blossom", "Luo Qi", "Xia Yun", "Sake" and "Pearl" to contrast ugly things such as antique, rust, greasy and foam, and reveal that the appearance of old China and Pearl Luo Qi can't hide the stench and decay of society. In old China, where only "flower mosquitoes" are brave, and where "mold" breeds, a few frogs can't add any vitality to it. These descriptions all express the poet's extreme hatred and indignation towards the reactionaries who turned China into a backwater.

The last verse of the poem takes care of the form and strengthens the theme of the whole poem. Since this "flower of evil" is not "where beauty lies", it is better to speed up its demise and let the decadent world "hang itself with many unjust actions" than to let it exist.

Although the poet shows negative despair here, if we go deeper, we can find that behind the irony and curse, we hope that the stagnant water will die as soon as possible and get a new life from it.

The success of Dead Water lies in that it is the most perfect work written by Wen Yiduo according to his own theory of new poetry, and it is a model of new metrical poetry, which provides useful experience for the pursuit of "three beauties" in new poetry.

The whole poem has five sections, four sentences in each section and nine sentences in the first sentence, which can be called "symmetry of sections and uniformity of sentences" and gives people "architectural beauty".

This poetic image is rich, dense and concrete, creating a poetic artistic beauty. At the same time, we pay attention to the color sense of language, and choose Fu Lihua's kind words, such as jade-verdigris peach blossom-rusty Luo Qi-greasy cloud-mildew and so on. Form a picture with different beauty and ugliness, sharp contrast and strong suggestion, thus forming the beauty of painting.

Looking at its musical beauty, Wen Yiduo himself thought this poem was his "first satisfactory experiment on syllables". The whole poem rhymes with two or four sentences in each verse, and the syllables develop harmoniously. Each line consists of three "two-character feet" and two "three-character feet", with uniform words, clear and slow rhythm and consistent length. At the end is a two-syllable word, which reads forcefully. (Tone ruler-syllable unit, also known as pause, pace and sound group. Every poem should have a relatively symmetrical "scale", and finally form a harmonious and unified auditory effect. )

Wen Yiduo's poems embody the poetic concept of Crescent Society. Like Guo Moruo, he has a free spirit and a free imagination. In Discovery, the poet completely compressed the process of emotional development, only from the outbreak of feelings, repeatedly shouting "I am coming", "I shouted, blood and tears burst" and "I am coming". "Wrong" and "Wrong" pre-emptively put the grief and disappointment in front of the readers very strongly, as if a volcano that has been smoldering for a long time suddenly erupted, with a burning beauty. He and Guo Moruo really broke through the narrow realm of early vernacular poetry, with rich imagination and wonderful metaphors, such as "banana's green tongue licked the glass window" and "lead"

Wen Yiduo brought liberated new poetry back to the standard of poetry with greater artistic strength. Guo Moruo's poems are grand and magnificent, but after they were released, they were too Wang Yang. Wen Yiduo collected his passion for volcanic eruption in the form of arrangement and the norms of meter. Therefore, this fierce character has been treated coldly in art, making the volcano become condensed magma. Although the heat is still high, it is in the form of liquid. Wen Yiduo's gloomy beauty was formed, which also established his irreplaceable position in the history of modern poetry in China.