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Taiwan Province's Modernist Poetry
Author: Anonymous Source: China Writers Network
(A) the rise of modernist poetry clubs
The origin of Taiwan Province's modernist literature is marked by the rise of modernist poetry. The establishment and gradual prosperity of modernist poetry clubs and poetry magazines in the early 1950s paved the way for the development of modernist literature in Taiwan Province.
1953 1 February, the poet Ji xian first founded the quarterly Modern Poetry, and soon gathered a group of modern poets, which is an important symbol of the beginning of modernist literature in Taiwan Province Province. 1956 65438+ 10, initiated by Ji Xianlin, and attended by poets such as Fang Si, Zheng Chouyu, Shang Qin and Lin Hengtai, the first congress of modern poets was held in Taipei, and the "Modernism School" was formally proclaimed. The number of participants reached 103, which attracted most modernist poets in Taiwan Province Province. "Almost two-thirds of the poetry circles are second to none", forming a huge modernist lineup. In addition to the above-mentioned poets, their backbone members include Luo Men, Yang, Xin Yu, Sha Li, Ye Ni, Lin Leng, Rong Zi and Cao Yang.
Ji Xian's "Modernism" inherits the basic spirit of Dai Wangshu's "Modernism" poetry view, and its expression form is more avant-garde. 1February, 956, Ji Xian held high the banner of modernism in the No.1 13 issue of Modern Poetry, regarded this poetry publication as "the magazine of modernist poets", and put forward the "six tenets of modernism" with the literary program of "leading the new revolution of new poetry and promoting the modernization of new poetry", claiming that they sublated and carried forward all the emerging poems since Baudelaire. Clearly put forward the idea that "new poetry is a horizontal transplant, not a vertical inheritance", emphasizing that new poetry is "the exploration of the new land of poetry, the exploration of the virgin land of poetry, the expression of new content, the creation of new forms, the discovery of new tools and the invention of new techniques", aiming at the "intellectuality" and "purity" of poetry, and striving to explore a new kind of new poetry in a new objective environment. These ideas are in the same strain as Dai Wangshu's "modernist" literary ideas. It can be seen that Ji Xian's modern poetry has a clear historical development origin in the form transplantation of western modern poetry. Ji Xian's "modernism" put forward "six creeds", which laid a theoretical foundation for the rapid development of modern poetry movement in Taiwan Province Province. However, although modernism has a program and leadership, it is only a loose literary colleague organization, and its creed has not become the principle that all colleagues strictly practice. Ji Xian's later poems often contradict his own theory.
The anti-traditional and westernized "modernism" theory, especially its excessive emphasis on "horizontal transplantation" and "intellectuality", once attracted criticism and protest from all sides. Later, Ji Xianlin made introspection and revision, and repented that he had led the new poem astray. 1959 announced his withdrawal from "modernism". Modern poetry is also closed in February 1964 1. Nevertheless, the literary circles in Taiwan Province Province still recognize Ji Xian's role as a standard-bearer of modernist poetry. The magazine has published 45 issues in the past ten years, which can accommodate poems of various styles and forms, trained nearly 100 poets, and effectively promoted the innovation and development of new poetry in Taiwan Province Province.
"Blue Star" poetry club is another poetry club that plays an important role in promoting the development of modern poetry. Blue Star was founded in June 1953. In March of the following year, Qin Zihao, Zhong Dingwen, Deng Yuping, Xia Qing and Yu Guangzhong established the Blue Star Poetry Society. 1June, 954, Bluestar moved New Poetry Weekly to Gonglun Daily, renamed it Bluestar Weekly, and then published Selected Poems of Bluestar (quarterly), edited by Qin Zihao. At the same time, Xia Qing, Yu Guangzhong and Rohm took turns editing Blue Star Poetry Magazine (monthly). Due to the different creative styles and poetic views, publications are colorful. There are a number of outstanding poets in "Blue Star" Poetry Club. Apart from the above-mentioned poets, there are also some members who often write songs for them: Wu, Huang Yong, Xiang Ming, Zhang Jian, Lin Leng, Ruan Nang, Rong Zi, Ye Ni and Kuang Zhongyu. By the time 1963 Qin Zihao died, many members had either gone to the United States or closed their pens. The organization was dissolved after Rohm compiled the last anthology of Blue Star in 1964. Members of "Blue Star" Poetry Society also published "Selected Poems of Blue Star" and "Blue Star Series", and successively published 30 or 40 kinds of poems, which had a great influence on the poetry circles in Taiwan Province Province.
"Blue Star" is a modernist poetry club with the spirit of Sharon, which competes with "modernism". Although there is no fixed theory and absolute creed, and their creative thoughts are not as avant-garde and radical as "modernism", their basic tendency is to flaunt pure and free poetry creation. They oppose over-emphasis on "horizontal transplantation", insist that poetry should "pay attention to life" and "attach importance to essence" and emphasize individuality and national spirit. They believe that style is the completion of the poet's self-creation, and Qin Zihao emphasizes that "self-creation" is the intangible expression of national temperament, character and spirit in his works. Most of the works of "Blue Star" poets not only accept western skills, but also have modern flavor and respect for tradition, and their artistic orientation is relatively stable and cautious. The creative park of "Blue Star" club is also very open, which can accommodate all kinds of styles and doctrines. This is its gentler side, which makes Blue Star play an important role in containing and balancing Modernism and the later Genesis in the trend of westernization of new poetry. "Genesis" poetry pushed modern poetry from the 1950s to the 1960s, making it go to extremes. 1954 10, poets in southern Taiwan Province province (mainly some military poets) initiated the establishment of Genesis Poetry Society, and published Genesis Poetry Magazine in the same year 10. The main members are, Shang Qin, Ye, Ye Shan and.
Genesis poets put forward the creative route of "Xinmin Poetry" in order to correct "horizontal transplantation". They argue that modern poetry should exclude pure rationality and pure emotional presentation, but should be "the expression of aesthetic intuitive images". They advocate "image first, artistic conception supreme", which has China style and oriental charm, and also agree to absorb the expressive skills of modern western poetry. Because its artistic thought was not seriously implemented in practice, the poetry club did not have its own groundbreaking poetry style in the 1950 s, which had little influence. By the end of 1950s, "Modernism" and "Blue Star" had passed their heyday, while Genesis took the opportunity of the virtual Great Leap Forward to innovate and expand its version and lineup, showing an extremely radical and avant-garde posture, completely abandoning the early concept of "national poetry", changing its course and setting up the anti-rational banner of "surrealism". 1958 The publication of the eleventh issue of Genesis in April marked a fundamental change in their creative line. Since then, it has gained great prestige, and quickly became a modern poetry club that played an important role in the poetry circles in Taiwan Province Province in the 1960s. Genesis has been published for twenty-nine issues, but it was stopped due to economic difficulties after 1969. 1972 was republished in September, showing a trend of returning to tradition and being close to reality. At this time, the modernist trend of thought in the literary world has died down and gone into silence.
During this period, in addition to the above three major poetry clubs, other poetry clubs appeared, among which the most influential one was the North-South Flute founded by Yang Lingye and Rohm in 1958. 1July, 962, the vineyard founded by Chen Minhua, Guding and Wenxiao Village; In June/964, Wu Yingtao, Zhan Bing, Lin Hengtai, Bai, Jinlian, Xue, Huang, Wang Xianyang, Gu Bei and other 12 Taiwan Province poets initiated the establishment of Li Poetry Society. The goal of "North-South Flute" is to connect poets of various schools. Vineyard advocates the clarity and popularization of new poetry, and puts forward that poets should "know the tradition" and "create Chinese style". Fundamentally speaking, its spirit is caring for the realistic countryside, which has a certain influence on the development of Taiwan Province's new poetry in the 1970s. Li Shishi Society was founded at the time when Blue Star and Modernism stopped publishing and Genesis gradually declined, so it was very eye-catching. Its appearance is the first large-scale combination of local poets in Taiwan Province Province, which marks the awakening of local consciousness of new poetry in Taiwan Province Province. Poetry Magazine, the bimonthly magazine of the Poetry Society, also became one of the most influential poetry magazines in Taiwan Province Province at that time. The early "Li" held a moderate position and played the banner of realism and modern skills. In the 1970s, it was publicly declared that "based on the historical, geographical and realistic background of Taiwan Province Province; At the same time, it also shows the psychological course of people who have experienced vicissitudes since Taiwan Province Province returned to the motherland for more than 30 years. Their works have a strong sense of social criticism, focus on reflecting real life, vivid themes, strong local flavor and simple and colloquial language. Li Shishi's literary activities have opened up a new path for Taiwan Province's new poetry to return to the countryside, and opened the prelude to the local movement in contemporary Taiwan Province Province.
(b) Two debates on modern poetry
From 1956 to 1966, the three modernist literary groups, Modernism, Blue Star and Genesis, had obvious differences and contradictions in their creative routes because of their different literary opinions and theoretical views on modernism, forming a three-legged situation. During this period, they experienced two large-scale heated debates with wide influence.
Once in 1957. 1956, when Ji Xianlin presided over "Modernism" and put forward six modern poems, he advocated the idea of "horizontal transplantation" and opposed the idea of "vertical inheritance", which aroused the anxiety of many poets. They denounced Ji Xianlin's ideas, especially Qin Zihao. Published "where are the new poems going?" 1957 in Selected Poems of the Blue Star Lion. ",questioning Ji Xian's statement, he pointed out in the article that" the external influence can only be used as a part of nutrition, and after absorption and digestion, it is his new blood. At present, new poetry is in great need of external influence, but it is not an intact transplant, but a transformation and a new transformation. " This article expresses his sublation attitude towards western modernist literature. In his view, "China's new poems are China's and the world's, but they are the world's and have their own unique style. "After Qin Zihao's article was published, Ji Xian wrote a fierce rebuttal, and Ji Xian's article caused Qin Zihao to fight back. Other members of "Blue Star", such as Rohm and Yu Guangzhong, also published articles attacking it. This argument lasted until the end of 1958. Because the attitudes of both sides are more intense than calm, although they are very angry, they have not conducted in-depth discussions on some major issues.
Another big debate happened between 1959 and 1960, which gradually attracted the attention of the society, especially some university professors and columnists. The focus of attention is still how to treat tradition. 1In July, 959, Professor national cheng kung university and female writer Su published the article "The Founder of Symbolism in the New Poetry World" in Free Youth, tracing back to the origin of modernist poetry in Taiwan Province Province, criticizing modernist poetry in Taiwan Province Province as "obscure and ambiguous to the point of black paint", and pointedly pointing out the disadvantages of China symbolism poetry school starting from mainland symbolism poets in 1930s and 1940s. She said that the "ghost" of symbolism poetry drifted across the Strait and became "popular" in Taiwan Province Province. Refused to accept, Qin Zihao published "On Symbolism and China's New Poetry", Su published "Answering Mr. Qin Zihao's Debate on Symbolic Poetry Style", and Qin Zihao replied with "On Malamei, Xu Zhimo, and Others-To Mr. Su". Subsequently, several columnists joined in and pushed the debate to a climax. In June, 1959, 1 1, the supplement of Central Daily News published Yan Xi's New Poetry Gossip and New Poetry Review. Before and after this, there were four readings of modern poetry and so-called modern poetry in Hanzhou. They criticized modernist poetry for betraying tradition, negative and decadent ideas and extremely bad escape from reality. These fierce criticisms and comprehensive negations shocked the poetry circle and attracted a large-scale comprehensive counterattack by modernist poets. There are also some desirable expositions in these articles. For example, Yu Guangzhong has a very clear and unique understanding of tradition, west and modernity. However, the counter-attack of modernist poets is obviously to break the tradition and advocate westernization. Those views are similar to those of western modernist poetry.
These two great debates on modern poetry did not prevent modern poetry from deviating from tradition and going to the west, and even developed viciously to the point where many poems were westernized seriously, with empty contents, obscure forms, divorced from reality and readers. These two debates also help some modernist poets to correct their mistakes in artistic view. For example, Ji Xian later corrected some of his mistakes. 196 1, he said in the article "Exile of New Formalism": "I can't tolerate those deceptive pseudo-modern poems that are popular now, such as cynical attitude, nihilistic tendency, indulgence, obscenity, formalism and word games. These are not my original intention of advocating new modernism that day." 1965 He even suggested abolishing the word "modernism" which caused great deviation in poetry. Yu Guangzhong later stepped out of the quagmire of vicious westernization and began to return to tradition.
(3) Modernist poets and their creation.
In the wave of Taiwan Province's modernist poetry, from the mid-1950s to the 1960s, modernist poetry creation was very active, and a number of influential poets appeared. While learning from western modernism, they made a good sublation. At the same time, they formed their own distinctive creative personality and their own unique observation methods, feelings and expressions. Therefore, they took the lead and attracted the attention of literary circles in Taiwan Province Province. Among this large number of poets, Yu Guangzhong, Ya Xian, Luo Fu, Rohm and Ji Xian have the highest achievements and the greatest influence. Qin Zihao, Ye, Shang Qin, Ye Shan, Bai, Guan Guan, etc. are also poets who are highly valued and admired by Taiwan's poetry circles. The poems of these poets are full of spiritual colors, and most of them mainly express "self". When they feel and observe life, they emphasize the poet's subjective feelings, but they are not divorced from life and indulge in pure self-expression. The "self" in their works often has a wide meaning, with a sense of history or nationality. Many poems will learn from the west and inherit the tradition well, and have their own distinctive expressions, forms and artistic skills.
Ji Xian, whose real name is Lu Yue, 19 13, is a native of Qingyuan County, Hebei Province, and his ancestral home is Shaanxi. 1929 began to write poems under the pseudonym "Louis". In the same year, he was admitted to Wuchang Academy of Fine Arts and transferred to Suzhou Academy of Fine Arts the following year. 1933 graduated from Suzhou Academy of Fine Arts. That year, the first book of poetry, Poems of Yi Shi, was published. 1935 I met Dai Wangshu, who returned from France, and cooperated with Du Heng to establish Modern Literature and Art and organized Spark Literature and Art Society. 1936 co-founded New Poetry with Dai Wangshu and Xu Chi. During the Anti-Japanese War, he traveled to Shanghai, Wuhan, Kunming, Hanoi, Hong Kong and other places. After the victory of the Anti-Japanese War, he engaged in business and education. 1948 left Shanghai for Taiwan Province province, and served as the editor of the supplement of Peace Times. In May of the following year, he began to teach in Taipei Success Middle School until he retired. 1976 left Taiwan Province for the United States and settled in California.
In the mid-1950s, Ji Xian became the standard-bearer of modernist poets in Taiwan Province Province, which caused a sensation in the poetry circle and triggered a series of debates. 1962 In the spring, the disheartened Ji Xian wrote an article announcing the dissolution of modernism. Ji Xian once divided his literary activities and new poetry creation into three periods: the mainland period before 1948, the Taiwan Province Province period after 1949, and the Western American period after 1977. Ji Xian has edited and published seven volumes of poems in Taiwan Province Province: Teenager Who Stars, Poem Copy of the Drinker, Areca Tree, Collection A, B, C, D, E, as well as three poetry reviews: Ji Xian Poetry Collection, New Poetry Collection and Ji Xian Modern Poetry Collection. Poems written by 1974 to 1976 are included in Poems of Late Scenes. After going to America, I still didn't stop writing.
Ji Xian is a poet with changeable poetic style. Influenced by western modernism, his poems in the early 1950s were characterized by strong egoism and extreme individualism. Since then, his poetry has deviated more and more from his modernist theory, and its content is often not seclusion but accession to the WTO, and the logical clues in his poetry are quite clear. Many of his poems express the disillusionment of beautiful ideals in the face of cold reality, and show the mental trauma of "modern people", paying special attention to rendering the disillusionment and loss of intellectuals. Nostalgia for mainland relatives and homeland has become an important part of his works. It can be seen from Ji Xian's poems that this homesickness based on personal feelings contains profound historical content.
Ji Xian's poems are quite ingenious in dealing with images. Some unrelated images in the poem are carefully arranged by the poet, showing a cinematic jumping posture and self-deprecating humor, which is a major feature of Ji Xian's poems.
Qin Zihao is the soul of "Blue Star" Poetry Society. Born in 19 14, originally from Guanghan, Sichuan. He studied at China-France University in Beijing and then studied in Japan. He wrote poetry in the 1930s, was the founder and important representative of the "Blue Star" Poetry Society, and was also a poetry critic. The Analysis of Poetry, published in 1957, is the earliest work of poetry criticism published in Taiwan Province Province. 106310 June10 died of illness. Since then, The Complete Works of Qin Zihao has been published in three volumes.
Qin Zihao has made great contributions to the development of new poetry in Taiwan Province Province, and is known as "the sower of poetry" and "the symbol of blue star". Most of his early poems are full of sincere feelings and strong love and hate. After the outbreak of War of Resistance against Japanese Aggression, he resolutely returned to China to participate in the Anti-Japanese War, and the published poetry collection "Flag of Freedom" was full of unyielding rebellious spirit. In June, the poetry collection "The Robbery of Yong 'an" 1943 accused the Japanese army of indiscriminate bombing of Yong 'an, Fujian, and was filled with indignation. There are no words and tears in poetry collections, such as The Brand of the Land, Blood Dropping on the Road, Whose Destiny Will Be Tonight, and The Hard Proof of Black Boy. The poet described the heartbreaking scene of the city in the war disaster in plain language, which gave readers great spiritual shock. "The article is written in time", and the pulse of the poet's life beats with the pulse of the motherland's destiny, which is the basic tone of Qin Zihao's early poems. The theme of these poems is the theme of national destiny. Poetry is usually simple in language, dense in form.
Great changes have taken place in the poet's thoughts and feelings since he entered Taiwan, which has caused a series of changes in the content, image, language and artistic form of his later poems, and gradually influenced by the modernist poetic style. The theme of poetry is complex and abstract. For example, the pursuit in "Poetry of the Sea" published by 1953: "The sunset on the sea/as tragic as a hero's sigh/a star passing by/to the distant horizon", "The sea breeze at night/blowing yellow sand/in the boundless night/a powerful soul/a fast horse that has stepped on time". The ups and downs of the sunset and the death of the hero provide readers with a broad and special aesthetic space. Sunflower was published in 1955, which marked the aggravation of Qin Zihao's modernist poetic style. His poems highlight the poet's subjective feelings. Through the exploration of one's own mind, the object is spiritualized and the mind is objectified, from which we can see the artistic intuition of expressionism, the pursuit of the subject counterpart by symbolism and the capture of fleeting thoughts by impressionism.
Love, formerly known as Molov. 1May, 9281A native of Hengyang, Hunan Province, 1946 began to write new poems. 1July, 949, entered Taiwan with the Kuomintang army. 1952 The first poem "Song of Flame" published in the monthly magazine "Treasure Island Literature and Art" inspired his great creative enthusiasm. 1954 met Zhang Mo and Yaxian, and co-founded Genesis Poetry Society. Love is a diligent and prolific poet. From the mid-1950s to the 1980s, the published poetry collections include: Linghe (1957), Death of a Stone Chamber (1965), Exotic Collection (1967), No Shore (1970) and Magic Songs. The wound of time (1980), etc. , as well as the poet's mirror (1969), poetry creation and appreciation (1975) and selected love poems (1977).
Love dares to innovate boldly, and is an enterprising and exploratory poet. The style of poetry has experienced several twists and turns, and generally experienced the process from Ming to difficult and then back to Ming. He himself regards the poems such as Projection and Kiss written by 1958 as "the first style change", while My Beast written in June can be regarded as that he entered the period of modernist creation and began to consciously explore modernist poems. Death of a Stone Chamber is a masterpiece of this period, which immediately aroused strong repercussions in the poetry circle after its publication. It embodies the modernist style of love poems. The "stone room" in the title can be regarded as a symbol of life that binds and forbids prisoners. (Bai Shaofan et al.: The History of Modern Taiwan Province Literature, Liaoning University Press,198765438+February. This work also embodies the outstanding ability of Love's poems to reconstruct objects with images. He is good at managing complex images, "transforming complex images into pure poems". The poet did not specify the symbolic meaning, but the combination of images naturally formed a specific artistic conception, guiding and urging readers to enter it, so as to appreciate poetry and understand life and the world. Because of the poet's biased view of poetry, this work also has some defects such as unclear meaning, compact structure and obscure language.
After the death of Shishi, the poet's poetic style began to become clear. Song of Eternal Sorrow is the representative work of the poet after he stepped into real life. It is based on the historical stories of Emperor Xuanzong of the Tang Dynasty and Yang Guifei. One of the major features of his works is that he successfully mobilized various expressive techniques and created a unique fable effect, which is unprecedented in his previous works. His writing style is also very different from Bai Juyi's masterpieces, and his style is very different. For example, "he held his charred hand high/shouted:/I have sex/because/I want sex/because/I am the emperor/because/we are used to seeing flesh and blood", or "he began to lie in bed reading newspapers, having breakfast, watching his hair combed, and reading the memorial/stamps/stamps/stamps/stamps/stamps/stamps/stamps" This kind of writing not only makes people laugh, but also is full of satire and makes people laugh, which shows the poet's originality in poetic language and form. First of all, the artistic feature of Love's poems is to pay attention to the management and integration of images. First of all, the dense images in the poem, such as rushing springs, create rhythms and rhythms full of life and show the poet's strong psychological color. For example, Seeing Hometown at the Border: "When the fog rises, we look back blankly/our palms start to sweat/the homesickness in the telescope expands dozens of times/chaos drifts in the wind/when the distance is adjusted to the level of heartbeat/a distant mountain flies head-on/hits me/has serious internal injuries". Secondly, the space-time structure of love poems is multi-level. Poets are good at mixing instant intuition and illusion, organically combining them, and interacting with various sensory feelings to form a rich aesthetic feeling, bringing readers a wide range of associations, from which they can appreciate and understand the unique meaning of poetry. For example, "Beyond the Whip": "My horse chews the scenery while walking"; In Death of a Stone Chamber: "The light is in the center, and bats eat slides layer by layer"; The poet embodies various feelings and hallucinations, showing amazing and strange imagination. Through the deep excavation of the poet's mind, the object is spiritualized and the mind is objectified, but the poet's subjective feelings are clearly highlighted, giving readers novel and extensive associations and sentiments. Love's poems since the 1970s are more sophisticated in techniques and rich in expressive techniques, and pay attention to exploring ideas and honing language, making his works more intriguing.
Yaxian, founder of Genesis Poetry Society. Formerly known as Wang Qinglin, his pen names are Lin Wang and Hou Bo. 1932 was born in Dongzhuang, Nanyang County, Henan Province. His main works are: A Copy of the Poems of Yaxian, Abyss, Blood Flower Oil, India and other poems; Collection of literary criticism, poet's notes, research on China's new poems, etc.
Yaxian, a mainland poet who grew up in Taiwan Province Province, began to learn to write poems in the early 1950s. 1953 published "I am a spoonful of beautiful flowers" in Modern Poetry edited by Ji Xian, which attracted the attention of poetry circles. 1954 10 got to know Zhang Mo and Ai and participated in the activities of Genesis Poetry Society, thus formally writing poems. As an important representative of military poets, Yaxian's poems first show a painful reflection on military life. Similar works always have a sense of disillusionment and loss. Therefore, they often feel sad emotionally. For example, the poem "Colonel" says, "It's just another kind of rose/born from the flame,/in the buckwheat field, they met the biggest battle,/and one of his legs said goodbye to each other at 1943. /He has heard history and laughter./What is immortality? /Cough medicine, razor, last month's rent, and so on. /and under the sporadic fighting of his wife's sewing machine,/he feels that the only thing that can capture him is the sun. " At this time, you can get a glimpse of his characteristics. Yaxian's original intention is to show extensive sympathy. In view of the negativity and inner pain of life, he is full of humanistic care and social criticism of social reality. He sketched for the "people" at the bottom of society with simple sketches, and revealed their tragic life experiences and fate by depicting a series of poor and pitiful little people. Please read Crazy Woman: "If you laugh again, I will lift the street/to the starry sky where the police officer can't control and the flute can't play/laugh, laugh, laugh again/Maria will tie a rainbow and hang you." Through the successful imitation of the inner monologue of the crazy woman, the poet vented their inner sadness, resentment and struggle on behalf of the lower class. Normal people are driven crazy by the real environment, and the weak are laughed at, but in the eyes of crazy women, the world is crazy and inhuman. It is this inversion and transposition of normal and abnormal, rational and irrational that makes him show a cynical mood and a desire to fight against society. Yaxian's poems transcend the barriers of personal feelings and convey a relatively universal and profound life experience and human feelings.
Yaxian's later poems paid more attention to the social significance of literature, and the realistic tendency in his works was strengthened, the most prominent of which was the success of his homesick poems. In his touching homesickness poems, he sublimated his simple local consciousness into ardent patriotism and national pride. The poet wrote in My Soul: "My soul must go home. /Don't you see that the leaves have fallen in autumn? /I hear, my nation/my glorious nation,/calling me from a distance. " There are poets here who worship and are proud of the 5,000-year history of the Chinese nation, and there are also overseas wanderers who are eager to return to their homeland all the time.
The artistic features of Yaxian's poems are as follows: most lyric poems are full of drama, making good use of overlapping syntax, sweet and full style, making good use of classics, and making good use of painting and music in poems.
Yu Guangzhong is a famous poet and essayist in contemporary Taiwan Province. 1928 was born in Nanjing on September 9, and his ancestral home is Yongchun, Fujian.
Yu Guangzhong is a prolific writer with more than 500 new poems. His poems can be roughly divided into four periods. First, the period of metrical poetry (1950- 1957) was mainly influenced by the crescent school and also inspired by the western romantic school. Second, during the Westernization Experiment (1958- 1960), Yu Guangzhong went to the United States to study American literature and modern painting history on 1958, and was influenced by western literature and art, and was involved in the modern poetry trend in Taiwan Province Province at that time. Thirdly, during the period of opposing westernization and advocating classicism (196 1- 1964), he had a fierce argument with the total westernization theorists and gradually returned to the tradition of China's classical poetry; Fourth, the period of democratic realism (1965 till now), represented by poems such as Cold War Years, White Jade and Bitter Melon, and Eternal Tug of War. Yu Guangzhong's poems include: Elegy of Zhou Zi (1952), Blue Feather (1954), Stalactites, Halloween (1960) and Lotus Association (1960). Prose collections include: The Muse of the Left Hand (1963), Wandering around (1965), Shepherd of My Hometown (1968), Crane Burner (1972) and Listening to the Cold. In addition, there are essays such as Rain on the Palm (1964) and some translations.
From 1950 to 1958, Yu Guangzhong published more than 200 poems. He was influenced by crescent aestheticism and western modern poetry in his early days, and romanticism was the main theme of his works. Drinking in 1842, written by 1955, is a masterpiece of this period, showing some variations on traditional metrical poems. The poet takes this cup of wine in his hand as the starting point, spreads his wings of thought and wanders in the historical time and space. When "slender fingers" picked the crystal-clear and round grapes,' Browning and Elizabeth never eloped across the Strait. /But george sand and Chopin once lived on Mazzocca Island,/Shelley first hid beside Keats' grave. "The poet showed a sentimental review of a hundred years ago, returned to the vine from a long history, and imagined the beautiful image of a couple under the grape trellis. The scene is so beautiful, but "all this withered with that summer", and the "delicate fingers" and "vines covered with pearls and agates" have rotted out, so the poet feels that "everything is gone, only this magic cup in my hand is still holding the Spring Festival Evening and summer morning in a foreign country a century ago. The blood left behind is still so bright red, still so warm,/to moisten the lips of oriental teenagers. "Poetry is full of love and meaning, beauty and history, with a hint of sadness and desolation in sweetness and tranquility.
From 65438 to 0958, after studying in the United States, Yu Guangzhong was influenced by western culture and his aesthetic concept changed greatly. Inspired by Van Gogh's spirit of dying for art, loving life and facing life bravely, he appreciated the mysterious and concentrated performance of American poetess Dickinson and her outstanding and energetic image. Yu Guangzhong played an important role in the wave of new poetry in Taiwan Province in the late 1950s. Many poems in his two collections of poems "Halloween" and "Stalactites" published in 1960 are his experiments on modern poetry. However, shortly after the great debate on modern poetry, in 196 1 year, he wrote Goodbye, Nothing, which showed his determination to get lost, retreat quickly, part ways with "vicious Westernization" and return to the road of national poetry again, marking a major turning point in his creative career. The Association of Lotus, written between 196 1 and 1963, marks the poet's return to tradition. It is precisely because he is always a "rootless passer-by" in a foreign country. It is precisely because the poet was deeply influenced by the motherland's culture, homesickness and deep nostalgia for the motherland that he sublimated his national consciousness and patriotic feelings, resolutely abandoned the "vicious Westernization" and embarked on the road of artistic return. In 1970s and 1980s, Yu Guangzhong's poetry creation made outstanding achievements in ideological content and poetry art, and gained a bumper harvest.
The most attractive part of Yu Guangzhong's poems is his poems expressing traditional consciousness and local concept. Elegy of Zhou Zi in the early 1950s expressed the poet's painful feelings of missing his hometown, even in a foreign land, which was extremely profound. Among homesick poems, Homesickness written in 1972 is the most representative. Images such as "stamp", "boat ticket", "grave" and "strait" are layered, which makes this deep homesickness break through personal homesickness and is endowed with profound content of the times by the poet. Nostalgia has evolved into a great national tragedy.