The Book of Songs is a collection of poems from 1 1 century BC to the 6th century BC, and it is also the first collection of poems in China, with 305 poems. According to different music, it can be divided into three categories: wind, elegance and ode. "Ode" poems are music songs used by rulers to sacrifice, including ancestors, mountains and rivers and farmers. "Elegance" can be divided into elegance and indecency, both of which are used for banquet ceremonies. The main content is to praise heroes of past dynasties and satirize current politics. Wind is the essence of The Book of Songs, which contains 15 local folk songs.
In the 4th century BC, the great poet Qu Yuan was born in Chu State during the Warring States Period with its unique cultural foundation and the influence of northern culture. Influenced by him, Qu Yuan and Song Yu created a new poetic style. Qu Yuan's Lisao is an outstanding masterpiece of Chu Ci.
Chuci developed the form of poetry. It broke the four-word form of The Book of Songs, from three or four words to five or seven words. In terms of creative methods, Chu Ci absorbed the romantic spirit of myth and opened up the creative road of romanticism in China literature.
Following the Book of Songs and Songs of the South, a new form of poetry appeared in the Han Dynasty, that is, the folk songs of Han Yuefu. There are more than 65,438+000 folk songs in Yuefu in Han Dynasty, many of which are five-character poems. Later, the intentional imitation of classical writers became the main form of poetry in Wei and Jin Dynasties.
Famous articles in Han Yuefu include Joining the Army in the Fifteenth Five-Year Plan, Shang Mo Sang and Lin Yulang, which reveal the disaster of war. Of course, the most famous is the long narrative poem Peacock Flying Southeast. This poem tells a sad love story. And broke up because of Jiao Mu's persecution of the Liu family, which led to the human tragedy in Where Are You Going? The most important artistic feature of folk songs in Han Yuefu is narrative, and Peacock Flying Southeast is the highest peak of narrative poems in Han Yuefu. Folk songs in Han Yuefu mostly use colloquial and simple language to express the character, so the characters are vivid and sincere. Although most of the folk songs in Han Yuefu are realistic descriptions, there are different degrees of romanticism in many places, such as the last paragraph of Peacock Flying Southeast, which shows the ingenious combination of romanticism and realism.
Five-character poetry is the main form of China's classical poetry. It took a long time from folk songs to literati writing, and by the end of the Eastern Han Dynasty, literati five-character poems were becoming more and more mature. The mature stage of five-character poems is marked by the appearance of Nineteen Ancient Poems. Nineteen ancient poems are not works of one person at a time. The content of this poem mainly tells about parting, lovesickness and feelings about the shortness of life. Being good at expressing emotion and making good use of metaphor is the greatest artistic feature of Nineteen Ancient Poems.
During the Jian 'an period at the end of Han Dynasty, "Three Caos" (Cao Cao, Cao Pi and Cao Zhi) and "Seven Sons" (Kong Rong, Chen Lin, RoyceWong, Xu Gan, Ruan Ji, Zuo Ying and Serina Liu) inherited the realistic tradition of folk songs in Han Yuefu, and generally adopted five-character style, which set off the climax of literati poetry creation for the first time. Their poems show the spirit of the times, have a generous and sad masculine style, and form a unique style, which is called "Jian 'an Style" by later generations. Among the seven sons, the highest achievement is Wang Shen, whose masterpiece Seven Wounded Poems is a portrayal of the reality of the war in the late Han Dynasty. Cao Shi and his son are the most important figures in Jian 'an literary world, among which Cao Zhi has the highest artistic achievement. Cao Zhi's poems (19-232) are magnificent, detailed in description, flowery in words and good in metaphor, so they have the artistic style of "extraordinary strength, flashy but not luxuriant", and his masterpiece is To a White Horse, Wang Biao. Poetry in Jian 'an period was the key to the transformation of Han Yuefu into five-character poetry, and Cao Zhi was the representative poet at that time. His poems are influenced by Han Yuefu, but they have more lyrical elements than Han Yuefu.
Ruan Ji (2 10-263) was a representative poet in Zhengshi era after Jian 'an. His love poems further laid the foundation of lyric five-character poems. He often expresses his worries about the country, his fear of disasters and his avoidance of the world with tortuous poems. Ruan Ji's contemporary is Ji Kang (224-263), whose poems are cynical and point to the dark reality. Their poetic style basically inherited the tradition of "Jian 'an Style".
Poetry creation in Jin Dynasty gradually embarked on the road of formalism, and the content of poetry was vague. Inheriting and carrying forward the tradition of "Jian 'an Style", the poet whose works are rich in content is Zuo Si (about 250-305). His eight poems "Ode to an Epic" satirize current events through ancient events, which is very thoughtful. But after all, such poems are not mainstream, and there are fewer and fewer. It was not until Tao Yuanming at the end of the Eastern Jin Dynasty that he brought his works close to reality to the poetry circle.
Tao Yuanming, who lives in seclusion and is not an official, regards pastoral life as an important creative theme, so people have always called him an "pastoral poet". At that time, Tao Yuanming inherited the realistic tradition of Yuefu, formed his simple and natural pastoral unity, and created a new realm of classical poetry. Five-character poetry was highly developed in his hands.
Xie Lingyun (385-433), who was about the same age as Tao Yuanming, was the first person to create the school of landscape poetry. The characteristic of his landscape poems is that he can put feelings into them, but some poems are too elaborate, lengthy in description and unnatural in the arrangement of allusions.
The Southern and Northern Dynasties is another development period in the history of China's poetry, which is manifested by the appearance of another batch of Yuefu folk songs. They not only reflect the new social reality, but also create new artistic forms and styles. The overall characteristics of folk songs in this period are short space and lyrical rather than narrative. There are more than 480 poems preserved by Yuefu in the Southern Dynasties, which are generally five-character and four-sentence poems, almost all of which are love songs. The number of Yuefu in the Northern Dynasties is far less than that in the Southern Dynasties, but the rich content, simple language and vigorous style are beyond the reach of Yuefu in the Southern Dynasties. If Yuefu in the Southern Dynasties is a romantic song, Yuefu in the Northern Dynasties is a veritable "military music" and "battle song". Stylistically, Yuefu in the Northern Dynasties created seven-character quatrains and developed seven-character ancient poems and miscellaneous words in addition to five-character quatrains. The most famous Yuefu in the Northern Dynasties is the long narrative poem Mulan Poetry, which, together with Peacock Flying Southeast, is called the "double gem" in the history of China's poetry.
The most outstanding poet in the Southern and Northern Dynasties was Bao Zhao (4 10-466). Bao Zhao inherited and carried forward the tradition of Yuefu in Han and Wei Dynasties, and created a large number of excellent Yuefu poems with five words and seven words. The number 18 in It's Hard to Go is his outstanding masterpiece. His mature use of seven-character syntax shows his personal misfortune and protests against social injustice.
During the Yongming period of the Southern Qi Dynasty, the theory of "temperament" prevailed, and poetry creation paid attention to tone harmony. In this way, the new poetic style of "Yongming Style" gradually took shape. This new poetic style is the beginning of metrical poetry. The famous poet in this period was Xie Tiao (about 464-499). Xie Tiao is famous for his landscape poems, and his poetic style is fresh and beautiful. His new style poems have a certain influence on the formation of regular poems and quatrains in Tang Dynasty.
Poetry developed into the Tang Dynasty and ushered in a highly mature golden age. Nearly 300 years ago, the Tang Dynasty left nearly 50,000 poems, and there were about 50 or 60 famous poets with unique styles.
Four outstanding poets in the early Tang Dynasty were the main poets in the pioneering period of Tang poetry. These four people are (649-676), Yang Jiong (650-693), Lu (637-689) and Luo (646-684). Although their poems inherited the atmosphere of the Qi and Liang Dynasties, the theme of their poems was expanded in their hands, and the form of five-character and eight-sentence rhythmic poems was also initially shaped by them.
After the "Four Great Scholars", Chen Ziang (66 1-702) clearly put forward his opposition to the poetic style of Qi and Liang, and advocated "the style of Han and Wei". There are 38 poems chanting for the bosom, which are his representative works with distinctive innovative spirit.
The prosperous Tang Dynasty is the peak of poetry prosperity. During this period, besides Li Bai and Du Fu, there were many accomplished poets. It can be roughly divided into two categories: one is an idyllic poet represented by Meng Haoran and Wang Wei; The other is frontier poets, among whom Gao Shi and Cen Can have the highest achievements, and Wang Changling, Li Qi and Wang Zhihuan are also outstanding frontier poets. Wang Changling's frontier poems mostly express the soldiers' homesickness with the ancient theme of Yuefu. His "Joining the Army" and "Going to the Frontier" have always been regarded as the representative works of frontier poems. Li Qi's frontier poems are few in number, but he has made outstanding achievements. A poem "Ancient Meaning" and "An Ancient Warsong" are his representative works. Wang Zhihuan, a frontier poet of the older generation, wrote a poem "Liangzhou Ci" and another poem "Denghe Quelou" is poetic and enlightening.
Poetry in the middle Tang Dynasty is the continuation of poetry in the prosperous Tang Dynasty. The works of this period mainly describe social unrest and people's suffering. Bai Juyi was the most outstanding realistic poet in the middle Tang Dynasty. He inherited and developed the realistic tradition of The Book of Songs and Han Yuefu, and set off the climax of realistic poetry in literary theory and creation, that is, the New Yuefu Movement. Yuan Zhen, Zhang Ji and Wang Jian are all important poets in this movement. The main works of Yuan Zhen (779-83 1) are 19 Ancient Yuefu and 12 New Yuefu. Meta-poetry is very close to Bai Juyi's poetry in both content and form. Their common feature is that the language is easy to understand, which is due to the consistency of their literary views. Although Wang Jian in Zhang Jihe had no clear literary ideas, they became the backbone of the New Yuefu Movement with their rich creations. Sympathy for farmers' sufferings is the theme of Zhang Ji's Yuefu poems, especially wild old songs. Although there are not many poems by Shen Li that are very similar in style to the above-mentioned people, two poems, Benevolence for Agriculture, have won him a wide range of readers.
In addition to the New Yuefu Movement, another school of poets appeared in this period, namely, Han Yu, Meng Jiao, Li He and others. Their poetic art is different from Bai Juyi's and unique. Han Yu (768-824) is a famous essayist. He is good at writing poetry, bringing new language styles and techniques into the world of poetry, expanding the field of poetry expression, but at the same time bringing about the atmosphere of writing poetry, stressing talent, pursuing adventure and strangeness. Meng Jiao (75 1-8 14) and Jia Dao (779-843) are both famous for their "bitter songs", and their * * * characteristics are the pursuit of adventure and hard thinking. Liu Yuxi (772-842) is a poet who is keen on creating folk songs. Many of his poems about Zhi Zhu describe the facts and are very popular with people. Besides, his poems and quatrains are also famous. Like his prose, Liu Zongyuan's poems (773-8 19) express personal grief and depression. His landscape poems are euphemistic and concise, showing his noble personality everywhere, such as Jiang Xue, which has always been told by people. Li He (790-8 16) did not follow the path of his predecessors in image, artistic conception and metaphor, and was unique in the poetic style of the middle Tang Dynasty, opening up a new romantic world with strange rise, beauty and sadness. Su Xiaoxiao's Tomb and Dream in the Sky are both works that fully embody his unique style.
Poetry in the late Tang Dynasty has a strong sentimental atmosphere, with Du Mu and Li Shangyin as the representative poets. Du Mu (803-852) is famous for his seven-character quatrains. His representative works include Jiangnan Chun, Mountain Walking, Bo Qinhuai and Guo Huaqing Palace. These poems show handsome talent in beautiful words and vivid pictures. Li Shangyin (8 13-858) is good at love poems. Du Fu, his study of the Seven Laws, has exquisite allusions, neat antithesis and is very representative, such as Ma Wei. His seven-character quatrains are also very skillful, among which Notes for Northern Friends on a Rainy Night and the Goddess Chang'e flying to the moon are both famous works.
In the late Tang Dynasty, a group of realistic poets inherited the spirit of the new Yuefu in the middle Tang Dynasty. Representative figures are Pi Rixiu, Nie and Du Xunhe. Their poems are sharp-edged, pointing to the disadvantages of the times.
Poetry did not develop as brilliantly as in the Tang Dynasty, but it has its own unique style, that is, reducing lyrical elements, increasing narrative and discussion elements, emphasizing description, and widely using prose syntax, which alienated poetry from music.
The poems by Su Shi and Huang Tingjian (1045- 1 105) best reflect the characteristics of the Song Dynasty. Huang Tingjian's poetic style was peculiar and abrupt, which influenced Su Shi at that time. Together with Chen Shidao, he founded the most influential "Jiangxi Poetry School" in Song Dynasty. Mei (1002- 1060) and (1008- 1048) in the early Song Dynasty were also called "Sumei", which laid the foundation of Song poetry. The poems by Ouyang Xiu and Wang Anshi (102 1- 1086) have played a great role in sweeping away the Kunxi wind. During the Southern Song Dynasty, the national disaster was deep, and poetry was often full of melancholy and anger. Lu You is a representative figure of this era. At the same time, Fan Chengda (1126-193) and Yang Wanli (1 1206), who are famous for their pastoral poems, are conscious. Wen Tianxiang (1236- 1282) was the last great poet in the Southern Song Dynasty, and his masterpiece Guo Yang held high the national spirit of preferring death to surrender.
Ci originated in Tang Dynasty and flourished in Song Dynasty. Wen (8 12-870) was the first full-time poet in the late Tang Dynasty. His rhetoric is gorgeous, and he writes about women's feelings of parting and lovesickness, which is called "Huajian School" by later generations. Li Yu (937-978), the empress of the Southern Tang Dynasty, occupies a very high historical position in the development history of Ci. Later, he made great achievements in the art of ci. Yu Meiren and Langtaosha use appropriate metaphors to visualize his feelings. His language is close to spoken English, but he uses it beautifully.
Poets such as Yan Shu (99 1- 1055) and Ouyang Xiu in the early Song Dynasty all have excellent works, but they are still influenced by the Huajian School. When he arrived in Liu Yong, he began to write long-term slow words, and the scale of words has changed obviously since then. By the arrival of Su Shi, the theme of ci has been further developed, and the content of nostalgia for the past and injury to the present has entered his ci. Su Shi's contemporary Qin Guan (1049-1kloc-0/00) and Zhou Bangyan (1056-11) are also excellent poets. Qin Guan's representative works include Huanxisha, Treading on the Sand, Queqiaoxian, etc. He is good at writing short stories and conveying sadness through lyrical scenery writing. Zhou Bangyan is not only good at writing lyrics, but also good at composing music. He wrote many new songs and made great contributions to the development of Ci. Influenced by Liu Yong, his lyrics are precise in melody, suitable for singing, exquisite in words and meticulous in description. His representative works include Crossing Qin Lou, ManFang Ting, Warrior Lan Ling, Six Ugliness and so on. Li Qingzhao, a poetess, occupies a very important position in the Song Dynasty with her unique style.
In the early years of the Southern Song Dynasty, in the face of the crisis of national destruction and death, most poems expressed the patriotic feelings of writers. Xin Qiji is a famous patriotic poet and a representative figure in this period. Influenced by Xin Ci, Chen Liang, Liu Guo, Liu Kezhuang, Liu Chenweng and others formed the most powerful patriotic ci school after the mid-Southern Song Dynasty.
Jiang Kui (about 1 155- 1235), a poet in the late Southern Song Dynasty, was the most famous. Most of Jiang's ci poems are about things. In his ci works, he mostly lamented the drifting of life experience and the frustration of love, and the more representative work is "Long Pavilion Slow Complain". His ci follows the path of Zhou Bangyan, paying attention to rhetoric and temperament, but its content is not substantial.
Ci reached its peak in the Southern Song Dynasty, Sanqu prevailed in the Yuan Dynasty, but poetry took a back seat.
Poetry in Ming Dynasty moved forward in the repetition of imitation and anti-imitation, and there were no outstanding works and poets.
There are many schools of poetry in Qing dynasty, but most writers have not got rid of the archaism and formalism, so it is difficult to surpass their predecessors. In the late Qing Dynasty, Gong Zizhen (1792- 184 1) broke the silence of poetry circles since the middle of Qing Dynasty and walked in the forefront of modern literature history with his advanced thoughts. His poems often pay attention to social, historical and political viewpoints in order to expose reality and make poetry a critical tool of the real society. Later Huang Zunxian (1848- 1905), Kang Youwei (1858- 1927), Liang Qichao (1873- 1929) and other new poems.
In the May 4th literary revolution, modern literature in China was born. 19 17 years, Hu Shi (1879- 1942) published eight vernacular poems for the first time in New Youth, put forward the idea of "great liberation of poetic style" and advocated informal and flat-length "Hu Shizhi-style" poems. In the process of the birth of new poetry, Liu Bannong, Liu Dabai, Kang and Yu Pingbo were the main writers. Through their efforts, the new poetry has formed the basic * * * nature of not sticking to rhyme, carving, elegance, simplicity and vernacular. The earliest published new poetry collections are: Trial Collection by Hu Shi, Winter Night by Yu Pingbo, Grass by Kang and Goddess by Guo Moruo.
Guo Moruo's Goddess, with the May 4th sturm und drang spirit and distinctive artistic features different from other vernacular poems, laid the romantic foundation of new poetry. Goddess is also a sign that new poetry really replaces old poetry. It successfully created and used the form of free verse, pushing new poetry to a new height.
After the pioneering stage, new poetry has formed a relatively perfect form, mainly free poetry, both new metrical poetry and symbolic poetry.
Writers of the Literature Research Association have created a large number of free poems, most of which are lyrical, showing the pursuit and anguish of awakened petty-bourgeois intellectuals. Among them, Zhu Ziqing's achievements are particularly outstanding. His poems show enterprising spirit. For example, the poem "Light" expresses the author's desire to seek no charity. There are also poems such as Hurry, Self, and Destruction, which all show the persistence of pursuing ideals after ups and downs and disillusionment. Influenced by Tagore's Birds, Bing Xin, an independent literary research society, created and published two poems, Stars and Spring Water. These poems of hers are all called "stars". Her "starry sky" poems mostly express maternal love, innocence and natural feelings, full of tenderness and sadness.
Roaring poems refer to the political lyrics of party member writers such as Qu Qiubai and Jiang Guangchi, among which Jiang Guangchi (190 1? /FONT & gt； 193 1) has the most poems. His poems, such as Evil Elephant in the Pacific Ocean, China's Song of Labor and Crying for Lenin, have a distinctive socialist color, which swept away the lingering tone of many new poems at that time and are full of masculine voices. However, his political lyrics have the defect of vague content.
In the creation of new poems, the field of love poems is the most striking among the poems of Hubin Poetry Society, including Wang Jingzhi (1902-), Ying Xiuren (1900- 1933) and Pan Mohua (1902-/kloc-0). The love described in their poems is bold and naked, among which the pure beauty is the most touching place.
Feng Zhi (1905- 1994), who writes free verse, is also an accomplished poet. His poems are not only about love, but also about affection and friendship. His published poems include Song of Yesterday and Journey to the North.
It is the crescent school that advocates metrical poetry. Wen Yiduo (1899- 1946) has made great contributions to the theory of metrical poetry. In order to construct new metrical poems, Wen Yiduo proposed to construct the beauty of music, painting and architecture, and made painstaking creative practice for this purpose. Wen Yiduo has two poems, Red Candle and Dead Water. Patriotism runs through his works. In addition, his poems also showed the aggressive pursuit spirit during the May 4th Movement. His artistic expression is romantic. He often chooses an image as a symbol of love. He makes good use of appropriate metaphors to enhance the image and artistic appeal of poetry. His poems have the beauty of music, painting and architecture, which has a great influence on the whole metrical school. Xu Zhimo (1896- 193 1) is another important poet of Crescent Society. His poems mainly express the pursuit of light, hope for ideals and dissatisfaction with reality. Poems expressing personality liberation and pursuing love occupy an important position in Xu Zhimo's creation. His poetic style is graceful, his words are fresh and clear, his feelings are strong and sincere, his atmosphere is gentle and light, and his expression techniques are delicate and changeable. Most of his poems are included in Poems of Zhimo, Cold Night, Tiger, Wandering and so on.
Almost at the same time that the Crescent School was active, symbolism poetry appeared in China. Symbolic poetry neither describes reality nor directly expresses ideas, but often uses associations, metaphors, hallucinations, hints and other means different from the normal to create hazy and mysterious colors. Li Jinfa (1900- 1976) is a representative figure of symbolism, and has written poems such as Xiao Yu and Ode to Joy. His poems reflect the pessimism of some intellectuals in the face of a blank future after the May 4th Movement. Li Jinfa is called a "strange poet" because his poems are grotesque and unreadable, but his poems also have many successes, such as a lot of vivid metaphors, vivid language and strong feelings, which are beyond many people's reach. Other outstanding symbolist poets include Wang, Mu and Feng Naichao.
Left-wing poets in 1930s led the poetic world with high fighting passion. Yin Fu (1909- 193 1) is an important political lyric poet. His poems enthusiastically praised the proletarian revolution and vividly described the battle scenes of the workers' movement. Because of his actual struggle experience, his poems are full of emotion, sincere but not vague, and his artistic style is simple and rough. The representative works are blood characters, 1929 May 1, our poems and so on. The important representative group of the left-wing poetry school is the Chinese Poetry Society. Their artistic proposition is the popularization of poetry, which advocates that poetry should face the lower class and praise the anti-Japanese national salvation movement. The representative poet is Pu Feng (1911-1942).
After the Crescent School, the modern poetry school that describes modern people's modern feelings in modern life rose, and Dai Wangshu (1905- 1950) was the main poet of the modern poetry school. Because of the poem Rain Lane published in 1928, he won the reputation of "Rain Lane Poet", and has published poems such as My Memory and Wang Shucao. These poems concentrated on the disillusionment and loneliness of intellectuals after the failure of the Great Revolution. Symbolic images are widely used in his poems, but because they are close to subjective feelings, his poems are tortuous and hazy, but they are not too obscure. His common metaphors are also fresh and appropriate. The sense of rhythm is another feature of his poems.
After the Anti-Japanese War, the most important school of poetry was July School. The important poets of July School are Hu Feng, Ai Qing, Tian Tian, Yimen, Li Lu and Zou Difan. In their creation, political lyric poetry occupies a large proportion, and its content is full of patriotic passion, calling for people's fighting spirit against the enemy. In art, the July school pays attention to striking people's hearts with blazing passion, rather than paying attention to literary grace and rhetoric. Simplicity, roughness and boldness are the artistic features of July poets.
In the second half of the 1940s, new poems, which were later called folk songs, matured in the rural areas of the liberated areas. The narrative poems of Li Ji and Ruan embody the outstanding achievements of new poetry.
Ma Fantuo is the pseudonym of a satirical poem published by Yuan Shuipai (1907- 1983) in the mid-1940s. His collection of poems in this period was Ma Fantuo Folk Songs, which was the most influential collection of political satire poems in Kuomintang-controlled areas at that time. Most of them are written in folk songs and minor songs that are familiar to the public. Relaxed and humorous, sharp and pungent, his sharp pen has swept every corner of the doomsday society.
1949 after the founding of new China, poetry entered a new stage of development, and new themes and themes emerged with the new life. The poet wrote an ode to the new era with passion. At the same time, the new society has also created a group of new people and brand-new poetry works. They are his song Clouds in Beijing, Woodcutter by forest poet Fu, Lao Zhang's Hand, I'm Back by Weiyang, Eyes under the Military Cap by Li Ying, the short song Border Town and Dawn City by Gong Liu and the Himalayas by Gu Gong. In addition, the forms of poetry have also been innovated, such as Wandering in the Sky, treading on thin ice and New Metric Poetry, which absorbed the nutrition of folk songs, appeared one after another.
In the late 1950s and early 1960s, the new folk song movement was revived in poetry, and traditional folk songs were developed. As an independent art form, political lyric poetry appeared in 1960s. Guo Xiaochuan and He Jingzhi were two outstanding political lyric poets at that time. Another outstanding achievement of poetry creation in this period is the harvest of long narrative poems. Guo Xiaochuan's trilogy "Deep Valley" and "General" are well-known in the poetry circle with novel forms and profound thoughts, while Li Ji's Biography of Levin, Wen Jie's Flame of Revenge, Han Qixiang's Turn Over, Wang Zhiyuan's Walnut Slope, Cang Kejia's Biography of Li Dazhao and Driving in the Field are also unique.
At the same time, however, the poetry creation in this period also had shortcomings in subject matter, theme, form and style.
Since the new era, the poetry circle, which has been silent for ten years, has shown a new scene of a hundred flowers blooming. Poetry can be widely used for reference in expression, but its form tends to be loose and free, with diverse styles. In the early days of the new period, the poems cheering for victory and reflecting on history inherited the tradition of realism and made it continue to develop. At the same time, a group of young poets, such as Shu Ting, Gu Cheng and He Jiang, grew up rapidly in the late 1970s and early 1980s. Their poems usually show an obscure and unusual complex emotion, which is called "misty poetry".