What are the main differences between Western modernist poetry and traditional poetry

Most of the English poetry expresses fervor and intense feelings in order to reproduce this sentiment. Chinese ancient poetry, on the other hand, is simple in words and far-reaching in meaning. After the poet has expressed the meaning of what he wants to say to seven or eight points, he will stop and leave the white space to give people a space for reverie.

In detail:

The difference between Chinese and Western poetry can be seen in the comparison of ****ness and individuality. Although Chinese and Western poetry can find a certain source or prove the connection and influence between the two, it is not difficult to find the differences between the two in the comparison. The existence of such huge differences is brought about by their different nature and different forms of thinking.

Chinese poetry is good at writing scenery and expressing emotions, and it is good at writing scenery to set the atmosphere or create a mood, while British and American poetry focuses on describing the reaction that the scenery evokes in people's hearts, and from there it expresses their subjective consciousness. This is the difference caused by the different thinking modes of the two. Chinese people focus on performance, Westerners focus on reproduction, this mode of thinking under the command of the development of poetry literary theory and poetry creation is naturally very different. With China as the representative of the East, the formation of the mood of the said, the said, the West has formed a typical said, so Chinese poetry is more focused on the creation of a mood, the pursuit of words have been exhausted but the effect of the meaning is not yet finished, so that people have unlimited space for reverie, the emergence of this kind of poetry is because of the traditional thinking of the ancient Chinese way of thinking is the perception of intuitive way of thinking. Even now, Chinese people writing poetry still pursue the creation of mood, if the words are too white, there is no meaning, of course, some of the contemporary works of the new nouveau riche writers to pursue a kind of straightforward, is another matter, and can not be generalized, after all, these people do not represent the mainstream of the creation of Chinese poetry.

Chinese poetry is subtle and light, whereas British and American poetry is more spontaneous and emotionally charged. A very prominent example is the treatment of love, where the characteristics of Chinese and Western poetry can be fully reflected. Chinese poets describe love as "only under the brow, but on the heart", and never express that love, while Western poets will shout "you are my sun, the fire of love burns me all over." This kind of outspoken Chinese is difficult to accept, the essence of the difference lies in the different aesthetic orientation of each other.

Additionally, Chinese poems are mostly about praising, while modern British and American poems are mostly about exposing. Chinese poems or objects to express their aspirations, or through the scenery to express their feelings, always bury the poet's emotions in the poems, only through the "feeling" may feel the beauty, the most prominent example is Ma Zhiyuan's "Tianjingsha - Autumn Thoughts", he almost did not use a word to express his feelings, but only the "withered vines," "old trees" and "old trees. He hardly uses a single word to express his feelings, but simply arranges "withered vines", "old trees", and "faint crows" together, and sketches out a bleak and lonesome scene with just a few strokes. The next two lines list seven kinds of still lifes in one place, which appropriately renders a lonely and bleak atmosphere. "The setting sun" is to paint the whole picture with a layer of yellowish color, the last stroke brings out the "broken hearted people at the end of the world", the feeling before and after as if there is no direct connection, but the feelings are coherent, the idea is also coherent, the reader reads down in one breath, as if he or she The reader reads it in one breath, as if he or she is the wanderer in the painting depicted by the poet, causing a strong ****ming. However, the juxtaposition of ten kinds of still life, though without any subjective feelings, expresses a lonely and bleak feeling more strongly than any more language, which is exactly the charm of classical Chinese poetry. In contrast, the British and American modern poetry emphasizes the writing of capitalist society in the aberrant people's psychology, more bluntly to the poet's expression of the meaning of the expression of the heart, and no artifice, the words but also the meaning of the end, the space of reminiscence is relatively narrowed, but this is more in line with the psychological characteristics of the Westerners, thinking characteristics.

Analysis of the difference

The above mentioned that the different forms of thinking between the Chinese and Western cultures caused by the difference in culture, what are the factors that cause the difference in thinking, this is a problem that even scientists are researching, the author can't really answer, can only be analyzed from the surface of the difference in thinking performance.

With the Western commercial, open society formed by the importance of concepts, categories of connotations of clarity, analysis, induction of logic, and abstraction of the thinking is different, China as early as the pre-Qin Dynasty has been the formation of sensory intuitive way of thinking. The former holds the philosophical view of "heaven and man divided", emphasizing the opposition between man and nature, so efforts to clarify the internal connection and logical relationship; the latter holds the philosophical view of "heaven and man in one", favoring unity, favoring the whole, intuitive grasp, and ignoring the precision and abstraction. The latter holds the philosophical view of "the unity of heaven and man", which emphasizes unity, the overall, intuitive grasp, and ignores the precise and abstract logical analysis and induction, which is a typical way of "viewing things from the viewpoint of things", obviously different from the Western way of "viewing things from the viewpoint of me". As a result, the semantics are ambiguous and difficult to analyze and study, and one can only rely on perception to understand the meaning of the words, without a precise yardstick to measure the meaning. For example, in the first sentence of Laozi, "Tao can be Tao, but is not Tao; name can be name, but is not name." The meaning of "Dao" has always been highly controversial, and in the translation, it is impossible to find a suitable word to express its meaning, so we have to use "dao" to express it, which is a typical product of intuitive thinking. This kind of intuitive thinking is a typical product of intuitive thinking. After this kind of intuitive thinking has been elevated to rationality, it is still inseparable from sensibility. When it is applied to literature, especially poetry, it produces a series of unique concepts, such as style, elegance, masculinity and so on. It is not like the West, which first defines the concepts clearly and then constructs a theoretical system after a reasoning process. It originated from the sensual experience, through the sense, and then agreed upon, in the back and forth in the use of the gradual development and perfection, with concrete and abstract, experience and generalization of the combination of characteristics.

In its long history of cognitive activity, China has developed a tradition of observing things using a simple dialectical method and a corresponding dialectical way of thinking, which is reflected in literature by emphasizing and revealing the intrinsic connection between literature and society, as well as by revealing the laws of literature itself.

Under the influence of this kind of thinking, Chinese poetry emphasizes the word "enlightenment," and "epiphany" has become the highest state of poetic creation. It does not necessarily have a direct logical connection with the above, but it is emotionally coherent. This way of writing is a product of intuitive thinking, and it casts the unique beauty of Chinese poetry. There is a poem by Du Fu that highlights this feature very well.

Boat moon to stage near the temple

(Tang) Du Fu

Deeper and deeper without false candles, the moon lang white bright boat. The golden temple is outside the green maple, the vermilion building is beside the white water. The city crows are crowing and the wild herons are staying. The first thing you need to do is to get your head out of your ass and get some sleep.

While only the last two lines of the poem express the poet's feelings, the scenery in front of it paves the way for the coherence of the feelings in the back, rendering the atmosphere, so that the poet's feelings are revealed in the poem in a single breath without a sense of abruptness. In ancient Chinese poetry, these works abound and are a major feature of Chinese poetry. On the other hand, western poetry seldom adopts this way, the reason is caused by the different thinking modes between the east and the west.

The famous American philosophers of science, Kuhn and Faye Abend, put forward a principle of incommensurability, which holds that the various chains in the history of science are incommensurable with each other, i.e., there are almost no approximations. This principle is used in the study of modern human culture to conclude that people living in different cultures face different worlds, see different things, have different experiences, and pose and solve different problems. We are inspired by the fact that literary works and theories produced in different cultural soils and different national cultural deposits should not be compared in order to establish a so-called neutral standard to judge their social and aesthetic values. The purpose of cultural comparison is to clearly understand the problem and improve oneself, not to overthrow or deny one side.

There is also the question of the status of local and foreign cultures in the exchange.

There are great differences between Chinese and Western aesthetic habits and tendencies, which are related to the social and cultural background and atmosphere of each nation as well as national thinking. It is impossible for anything from other nations to remain unchanged when it enters into an unfamiliar nation, and this change is not only a necessary condition for its integration into the culture of other nations, but also a result of its own development and assimilation. There are two kinds of results of this mutation: one is the annihilation of other cultures, especially those of the backward peoples, and the other is the combination of the two, which finally becomes one, with you in me and me in you. In ancient China, the former phenomenon often occurred, but in modern times, due to the accumulation of cultural precipitation of each nation to a certain extent, the latter situation is commonplace, and the trend of world cultural exchanges objectively require the fusion of different cultures. It is worth noting that this kind of cultural integration is not at the expense of eliminating the culture of one party. After all, the development of each nation has gone through thousands of years of history, and the phenomenon of elimination of cultures is impossible, and the argument of cultural integration cannot be established because the incommensurability of cultural existence determines the individuality of cultures. To be more radical, we might as well put forward the argument that cultural integration is tantamount to the absence of culture and its elimination. We are really difficult to imagine all the peoples of the world only *** with a culture that is how a scenario, the development of each culture and even the demise of the objective laws governing, if non-objective means to force the elimination of a culture will inevitably be punished. This lesson has been learned both in Chinese and foreign history. Therefore, we can not put forward pure integration requirements, Chinese and Western exchanges can not be aimed at the elimination of a culture, or else we are bound to regret our own, our nation.

Through the comparison of Chinese and Western poetry, it is impossible for us to conclude who is better and who is worse. The culture of each nation and each region has its own characteristics, and there are only differences in cultures, not advantages and disadvantages. Our poetry in a long period of time has made us even future generations proud of the place, but the development of poetry is not based on the will of mankind to transfer, worthy of pride does not mean that you can be stuck in a rut, only to continue to improve, develop, our poetry, our literature may be developed in a better direction.