Top Ten Famous Modern Poems

Famous top ten modern poems are related as follows:

1, Farewell to Kangqiao

Author: Xu Zhimo.

Gently I go, just as I gently come; I gently wave goodbye to the clouds of the western sky. The golden willows along the river are the brides in the sunset; the colorful shadows in the ripples ripple in my heart. Nymphoides on the soft mud, oily underwater waving; in the soft waves of the Kanghe River, I am willing to be a watercress! The pool under the shade of the elm is not a clear spring, it is the rainbow in the sky crushed between the floating algae, precipitating a rainbow-like dream. Looking for a dream? Hold up a Penny, to the grass more green place roaming, full of a boat full of starlight, in the starlight splendor in the song.

But I can't sing, quietly is the parting of the pianoforte; summer insects are silent for me, silence is tonight's Kangqiao. I'm leaving quietly, just as I came quietly; I wave my sleeve, not taking a cloud with me.

2. Rainy Lane

Author: Dai Wangshu.

Holding an oil-paper umbrella, alone, wandering in the long, long and lonely rainy alley. I hope to meet a girl who is as sad as a lilac. She has the same color as lilacs, the same fragrance as lilacs, the same sorrow as lilacs, in the rain, sorrowful, sorrowful and wandering; she wanders in the lonely rainy alleys, holding an oil-paper umbrella, like me, like me, walking silently, cold, bleak, and despondent. She approached silently, approached, and cast a too-breathless glance.

She floated by, like a dream, like a dream, poignant and confused. Like a dream floating past, a branch of lilac ground, beside me floated past this woman; she silently far, far away, to the dilapidated hedge wall, walk through this rainy alley. In the dirge of the rain, dissipated her color, dispersed her fragrance, dissipated, even her. Tai-ha-like vision, lilac-like melancholy. Holding an oil-paper umbrella, wandering alone in the long, long and lonesome rainy alley, I hope to float past a lilac-like melancholy girl.

3, "If"

Author: Ximurong.

The seasons can be arranged to be extremely bleak, and life can be arranged to be extremely lonely if the sun so desires; if love so desires, I can never reappear; if you so desire, I have nothing to offer but thoughts of you, dear friend. Yet if you will, I will at once make thoughts wither and break off; if you will I will, dig up every seed, cut off every river, and let the barrenness and dryness extend to infinity; and never in this life and in the world will I ever think of you again, except if in some of the, nights wet with tears.

4, "Love of Life"

Author: Wang Guozhen.

I don't want to think about whether I can succeed or not, since I chose the faraway place, I only care about the wind and rain. I don't want to think whether I can win the love, since I love the rose, I will bravely spit out the sincerity. I do not want to think about whether the cold wind and rain will come behind me, since the goal is the horizon to leave the world can only be the back of the shadow. I do not want to think about the future is flat or muddy, as long as the love of life, everything, are expected.

5, "Nostalgia"

Author: Yu Guangzhong.

When I was a child, nostalgia was a small stamp, I was at this end, my mother was at that end. When I grew up, nostalgia was a narrow boat ticket, with me at this end and my bride at that end. Later, nostalgia was a short grave, I was on the outside, my mother was on the inside. And now, nostalgia is a shallow strait, I'm at this end, the mainland is at that end.

6, "To the Oak Tree"

Author: Shu Ting.

If I love you--never like the climbing campion, borrowing your high branches to show off myself; if I love you--never like the infatuated birds, repeating monotonous songs for the shade of green; nor more than like a spring source, sending cool consolation all the year round; nor more than like a dangerous peaks that add to your height and set off your majesty. Even daylight. Even spring rain. No, none of these are enough! I must be a kapok near you, and stand with you as the image of a tree. Roots, clasped in the ground, leaves, touching in the clouds.

With every gust of wind we greet each other, but no one understands our words. You have your copper branches and iron trunks, like a sword, like a sword, and like a halberd, and I have my red and fruitful flowers, like a heavy sigh, and like a gallant torch; we share the cold waves, the winds, the thunder, and the lightning; we *** enjoy the mists and streams of mist and rainbows as if we were parted for ever, and yet we cling to each other all our lives, and that is great love, and herein lies the steadfastness: not only do I love your great body, but also the place where you hold on to it, and the ground beneath your feet.

7, "believe in the future"

Author: index finger.

When the cobwebs mercilessly check my hearth, when the residual smoke of ashes sighs the sorrow of poverty, I still stubbornly lay down the ashes of disappointment. Write with beautiful snowflakes: believe in the future, when my purple grapes turn into tears of late autumn, when my flowers nestle in the arms of others, I remain stubborn with frosty dead vines. On the bleak earth to write: believe in the future, is heh! Believe in the future, it is the warmest arm. Yes huh! Believe in the future, which is the most fascinating colors.

I want to use my fingers - to point to the rows of waves that surged to the sky; I want to use the palm of my hand - to hold up the sea of the sun; I swayed the dawn - that beautiful and warm penny! . In a child's penmanship, I write, Believe in the future, and the reason I firmly believe in the future is that I believe in the eyes of the people of the future. They have eyelashes that pluck away the dust of history, they have pupils that see through the chapters of years.

Whether they are for us, these rotting flesh, the despair of the lost and the pain of failure, is to give moving tears, deep sympathy, or to give a contemptuous smile, bitter sarcasm. I firmly believe that they will give a passionate, fair and objective assessment of our spine, those countless explorations, lost paths, failures and successes. Yes, I anxiously await their rating.

O dear friend, believe firmly in the future! Believe in indomitable efforts, believe in the youth that overcomes all, believe in the fighting spirit that never fails, believe in the future, believe in life. The future is bright! The future will be bright! Life is always moving forward!

8, "Facing the sea, spring flowers"

Author: Hai Zi.

From tomorrow, be a happy man. Feed the horses, chop wood, and travel around the world. From tomorrow, care for food and vegetables. I have a house facing the sea and flowers blooming in spring. From tomorrow, correspond with every loved one, tell them of my happiness, that happy lightning told me. Will tell every person, give a warm name to every river and every mountain. Stranger, I also bless you, may you have a brilliant future, may you have lovers, may you get happiness in the earthly world, I also wish to face the sea, spring flowers bloom.

9, "I love this land"

Author: Ai Qing.

If I were a bird, I, too, should sing with a hoarse throat: this land battered by storms, this river that forever rages with our grief, this wind of agitation that blows without end, and that incomparably gentler dawn from the forest ...... - -Then I died, and even my feathers rotted inside the earth. Why do my eyes often contain tears? Because I love the land so much .......

10, "A Blossoming Tree"

Author: Sil Murong.

How can I make you meet me, in my most beautiful moment. For this, I have begged for five hundred years before the Buddha, begging the Buddha to let us have a dusty relationship. The Buddha then transformed me into a tree, growing beside the road you must pass. Under the sunlight, discreetly full of flowers, each is the hope of my past life. When you approach, please listen carefully, the trembling leaves, is my waiting for the enthusiasm, and when you finally ignored to walk by, behind you fell on the ground. O friend, that's not a petal, that's my fading heart.

The main genres of modern poetry:

1. Crescent School

An important school of poetry in the history of modern new poetry, this school of poetry is divided into two periods before and after the boundary of 1927. The first period began in the spring of 1926, with Beijing's Morning Post Supplementary Poetry Engraving as its position, and its main members were Wen Yiduo, Xu Zhimo, Zhu Xiang, Rao Mengkan, Sun Dayu, Liu Mengwei, and so on.

They were dissatisfied with the style of free poets who neglected the art of poetry after the May Fourth Movement, and advocated the new metrical poetry, advocated rational moderation of emotion, opposed the tendency of abusive sentimentalism and the tendency of loose culture of poems, and seriously explored the metricalization of the new poems from the theory to the practice. Wen Yiduo put forward the famous idea of three beauties, i.e., the beauty of music, the beauty of painting, and the beauty of architecture, in "The Metre of Poetry".

Musical beauty among the three beauties refers to the fact that each stanza of the New Moon School poems has a different rhyme scheme, as if it were music. Pictorial beauty refers to the fact that each stanza of a Crescentist poem is a palpable image. Architectural beauty means that the poetry is formatted as if it were architecture.

2. The Nine Leaves School

One of the characteristics of the Nine Leaves School: a focus on reality.

The most important event in poetry in 1948 was the official debut of the Nine Leaves School. Because of the differences in artistic views between Cao Xinzhi and Zang Kejia, who formed the Xingqun Society, he and Xin Di, Chen Jingrong, Tang Ji, Tang Chik, and others founded the monthly magazine New Chinese Poetry, and got in touch with Mudan, Du Yunxie, Zheng Min, and Yuan Kejia who had already returned to Beijing and Tianjin from the Southwest Associated Schools of Poetry in Kunming, to form a new school of poetry called New Chinese Poetry (later called the Nine Leaves Poetry School for the Nine Leaves Poetry School, which was published by the Jiangsu People's Publishing House in 1981). Pai" published by the Jiangsu People's Publishing House in 1981 was called the Nine Leaves Poetry School).

The Nine Leaves School, on the other hand, was another stylistic group of poets (also known as the New Chinese Poetry School) centered on publications such as New Chinese Poetry in the 1940s, and was represented by poets such as Xin Di, Mudan, Zheng Min, Du Yunxie, Chen Jingrong, Hang Yeoh, Tang Ji, Tang Chik, Yuan Kejia, and so on.

Literary history usually recognizes the Nine Leaves Poetry School as valuable in its artistic exploration, possessing a group of poets with high artistic standards, and making great breakthroughs in the expression of new poetry as well as in poetic concepts.

3. Misty School

Misty Poetry School: A school of poetry that appeared in the late 1970s and early 1980s, with Bei Dao, Shu Ting, Gu Cheng, Jiang He, Yang Lian, Duo Duo, Mangke and Yan Li as its representatives. As a creative group, the Misty Poets did not form a unified organizational form, nor did they ever publish a manifesto, but they constituted a rising group of poets with their own independent and ****ual artistic propositions and creative achievements. The Misty Poets were the subject of a debate in the literary world at the time.

The three dimensions of the spirit of Misty Poetry are: firstly, the exposure of darkness and social criticism; secondly, the search for light in darkness, the sense of reflection and search, and the strong color of heroism; and thirdly, the special attention paid to human beings established on the basis of humanism. Misty Poetry rewrote the traditional pattern of previous poems that simply depicted reality and illustrated policies, and took poetry as an important way of searching for life, which reached an unprecedented high level of philosophical significance. In a sense, the rise of Misty Poetry is also the rise of the tree of life of Chinese literature.

The New Poetry Movement, which was dominated by hazy poetry, entered a period of climax in the late 1970s, after the thawing of ideas, marked by the publication of Bei Dao's short poem "The Answer" in the March 1979 issue of Poetry Magazine. With the publication of "The Answer," hazy poetry began to move from an underground state to an open one.

The new wave of poets not only quickly took over the main pages of various literary newspapers and magazines, but also founded their own folk poetry publication, Today magazine, which launched the works of a number of outstanding poets, such as Beidao, Yang Lian, Gu Cheng, Jiang He, Shu Ting, Mangke, Yan Li, and so on, and triggered a powerful controversy about hazy poetry that lasted for several years in the poetry world and even the entire literary world.

This kind of poetry uses a lot of symbols in its creation, which makes the literary meaning of the poems full of diversity and ambiguity, so it is also called hazy poetry. After reflecting and searching for self-worth, the hazy poets finally found their position as witnesses of history, and the way to realize their self-worth is to provide witnesses of history for the future generations, therefore, providing witnesses of history has become the ultimate theme of hazy poetry.