Zhang Xiulin on the Difference between Modern and Traditional Poetry

Deputy Director of the Social Business Research Office of the Development Research Center of the Dalian Municipal People's Government, Associate Researcher, Standing Director of the Professional Committee for the Study of Non-Intellectual Factors of the Chinese Society of Child Psychology, Deputy Secretary General of the Professional Committee for the Study of Creativity in Liaoning Province, Director of the National Children's and Young People's Classical Recitation Activity for the Promotion of Chinese Culture and Counseling Center in Dalian, Liaoning Province, Zither Breaking Dawn: Having read your "Answer to the Questions of the Writer's Friend (I): The Poet's Sensibility and the The balance of the poet's sensibility and rationality, etc.", there are two points of enlightenment, please Mr. guidance.

(1), the poet's sensibility and rationality of the balance, sensibility is a healthy psychology as a prerequisite, rationality should be positive into the world and negative out of the world as a boundary, the two also have to be subjected to the poet's literary literacy and character of the cultivation;

(2), the form of dialog of the poem, the summit of the ultimate is nothing more than the true transmission of the ancient fugue, than the rise, understanding and mastery of the fugue, than the rise, both the "The first time I saw this, I had to go to the hospital to get a doctor's prescription for a newborn!

Zhang Xiulin:

Given that relatively few people truly understand the current state of development and the level of development of modern poetry, which is almost limited to the internal, i.e., the circle of theory and creation of pioneering poetry, and that, all along, modern poetry has often encountered misunderstandings, accusations, and even non-difficulties at various levels from the outside, here, I will start with the second point.

The traditional poetry of the true biography of the fugue, than, Xing, but also is the basic method of ancient literary creation, we know that the fugue, called the fugue Chen, also known as the laying out, the laying out of the short for the laying out, the row of comparison, that is, the contents of a series of closely related to the landscape object, the state of affairs of the phenomenon, the characters and character behavior, in accordance with a certain order of a group of structural basically the same, the tone of basically the same group of sentences, which It does have a certain effect of strengthening the language and rendering the environment, atmosphere and mood. However, it is mainly widely used in the ancient fugue, modern prose, there are a lot of this method, but modern poetry, especially in short poems, very few or even almost do not use this method.

Why is it, because poetry is the art of language subtlety, in the case of limited words, a large number of prose and spread, so that the poem becomes loose and wordy, the tendency to loose culture, so that will certainly affect the poem in a certain capacity of the "poetic". Than, that is, metaphor, now known as simile, of course, is also the most basic technique of modern poetry, used very commonly, generally speaking, used as a comparison of the metaphorical things are always more vivid and specific than being compared to the body of the things more vivid and specific, distinctive and shallow and known to people, easy for people to associate and imagine, but the metaphor is not just a kind of poetry is only a basic means, can't be considered that the metaphor is the main constituent of the formation of the poem, just as the text is the basic means of poetry, but the metaphor is also the basic means of poetry. However, metaphor is only a basic means of poetry, and cannot be regarded as the main constituent of poetry, just as words are the basic means of poetry, but it cannot be said that one has mastered poetry after mastering words. The first thing that I want to say is that I'm not sure what I'm talking about, but I'm not sure what I'm talking about, and I'm not sure what I'm talking about, and I'm not sure what I'm talking about.

There should be an important difference between modern poetry and traditional Chinese poetry. Although, in the latter, there are some creative methods, such as what you call fugue, ratio, Xing, can be and in the inheritance and use, but it should be more to see, the latter has the merit is not much, and often be narrowed down, most of its content, the content is not good, but the expression of scholarly mood, in the feudal hierarchical system of the emperor's power in the idea of a few personal gains and losses of the small moods and emotions, in the expression of the method, but also more monotonous, more concerned about the meter, format and vocabulary, but also the role of the Chinese traditional poetry, and the role of the metaphor is no more than a rhetorical tool. The first is to express the feelings of the scholar and the man in the feudal hierarchy.

Modern poetry, with a history of only 90 years, originates from the West, which respects the sense of equality and the spirit of freedom. Of course, this does not mean that it is an exact replica. In terms of expression, modern poetry is very rich, far from fugue, than, Xing can be compared, there are learning from the Western modernism and postmodernism of various methods of expression, but also many domestic pioneering theorists and poets in the continuous research and try new means of expression ---- For example, in the 80's, the school of non-fei poets put forward the "linguistic reduction" theory; in the mid 90's, the theory of "language reduction"; in the mid 90's, the theory of "language reduction" was put forward, and the theory of "language reduction" was put forward. For example, in the 80's, the Fei Fei school of poetry put forward the theory of "language reduction"; in the 90's, I wrote in 1991 "the language theory of poetry and its methods", I put forward some of them, but unfortunately, this 12,000-word-long theoretical article, after writing, will only be a copy according to the opinion of my friend Zou Fuxiao, sent to the then presided over the Shijiazhuang Culture Newspaper poet Zuo Chun and left replied to the newspaper will be published in the newspaper, but then there was no news, and went to the letter to call for the original manuscript has not yet been received. But I have not heard from him since then, and I have not gotten any result from the original manuscript, and I can't remember what language theories and methods I have put forward; I have also put forward some of them in some of my later poetic theories and criticisms, such as Absolute Tension (which refers to the direct, intrinsic order of the reaction force triggered by the connection of the words with each other, and the sentence with each other, without the help of metaphors); and another one of my friends, Yu Nu, a poet widely known as a pioneer in the exploration of the most important poetic techniques, has also written some poems about this. In addition, a friend of mine, Yu Nu, a pioneering poet widely known for his emphasis on the exploration of poetic techniques, has proposed and practiced methods of expression such as "strong pointing," "misinterpretation," and "random meaning. There are a lot of new rhetorical theories of language like these, and the ones I have cited are only a few of them.

In terms of the inner creative spirit of modern poetry, there are also a lot of new ideas ---- My poetry theory review articles, most of which are about the study of the spiritual core of poetry; Mr. Zhou Lunyou, a non-africanist, also put forward the "red writing" and "writing outside the system". Mr. Zhou Lunyou also proposed "red writing" and "writing outside the system". Of course, there are some other ideas. There are some positive and constructive researches on modern poetry in this aspect. Although our modern poetry is not necessarily very mature in terms of the fusion of Chinese and foreign cultures, and in terms of creative methods, contents and dissemination practices due to the short period of time, at present, it is not necessarily very mature. For various reasons, there are also many messy and seemingly famous so-called modern poets and modern poetry. But in any case, it has gone through the stages of traditional inheritance, learning from others and summarizing and developing, and to this day, it is certainly responsive to the innovative requirements of our time, the development of the sense of equality and the spirit of freedom, and is by no means comparable to those ancient poems and songs with traditional feudal consciousness and monotonous methods of creation.

All along, there are many people who do not understand and study history, do not study the social condition of China and the development of modern poetry, do not study the basic concepts and spirit of modern society, and unilaterally take the once glorious Tang and Song poems to disparage modern poetry, which is very wrong. Tang poetry and Song lyrics are brilliant again, but only as history, and only in the Tang and Song dynasties as a feudal society are brilliant, on the whole, they are out of tune with the spirit of modern society or even contrary to it, if they are allowed to be brilliant again in the present, then history can only be retrogressed.---- Not only the Tang poetry and Song lyrics, but also the traditional cultures of feudal societies should be held in a similar attitude. Recently, there has been a momentum of unprincipled and unrestricted touting of feudal traditional culture in academia, which, in my opinion, is really not a good thing.

Fugue, ratio, and rise are just some basic and primary performance methods of poetry writing, some of the simplest and external performance tools and means, they are just the most basic part of the external problems of poetry, far from being enough to reflect the degree and level of language and rhetoric of modern poetry, and it has nothing to do with the internal problems of modern poetry, i.e., the spirit of the concept, and of course, far from constituting the important conditions of excellent poetry. It has nothing to do with the internal problems of modern poetry, i.e. the spiritual concept, and is certainly far from being an important condition for good poetry.

As for the balance between the poet's `sensibility and rationality, I have talked about it in `Answer to a Friend of the Literature (I)', and now I would like to talk about my views a little deeper in the light of the understanding that you have put forward. It is true that sensibility is a prerequisite for a healthy mind, but poets should not be asked to have only the normal or legitimate sensibility that ordinary people have; poets' sensibility should of course be richer, and they should present more generous, more progressive, more forward-looking and guiding good feelings, and more splendid moral and aesthetic pleasures of the heart; however, to do so in a more perfect way, poets have to pay a great deal of effort. However, in order to do all these things more perfectly, poets have to pay a great price, because they will always be subject to all kinds of resistance from the secular society, and sometimes, in front of the powerful secularity of the society, this resistance is even fatal - this requires poets to have a more mature, more tolerant and more resilient rationality, and to form a specific spiritual bearing capacity in order to To counteract all kinds of trouble from the outside world ---- As for those who do not have good quality, just rely on poetry to follow the secular and get some kind of interest outside the art, of course, will not feel what bother, no need for such rationality.

In my opinion, rationality should always be positive into the world, not to the negative out of the world as the boundary that negative out of the world as a means of alleviating the distress and pressure. The poet's concern for society, people's livelihood and human nature should not be phased and localized. Therefore, rationality should always be firm, benign and forward. Of course, it is very difficult to do this while being able to dissolve the inner restlessness, pain and even despair, which requires the poet to have a high level of humanistic qualities and to form a mature, tolerant and resilient rationality as mentioned above.

After saying so much, I can't be regarded as the answer to your two points of perception, let alone dare to say that it is some kind of instruction, but I can only say that I have generated some of the above ideas through the two problems you mentioned, and you are just debating with me.

November 9, 2xxx