What is anti-traditional poetry and how does it differ from traditional poetry?

The phenomenon of "anti-traditional" poetry has emerged in every period of history. Since the 1980s, there has been a saying that new Chinese poetry has been "in the ascendancy for two or three years". There are two kinds of "counter", one is what Bloom calls "counter" based on creative "misreading", which can be regarded as inherited counter, because although it is "misreading" the tradition, it is still "reading" the tradition. This can be regarded as an inherited counter, because although it is "misreading" the tradition, it is still "reading" the tradition. Another kind of counter is the counter of leaving the tradition, although the leaving cannot be a complete and real leaving. But whatever the nature of the counter, will win a group of people's applause. The root cause of this phenomenon, explained by Bloom's point of view, is the anxiety of realizing that tradition lies in oneself first, and that one can only be influenced and "lag behind", and "anti-tradition" is an attempt to recapture the antecedents caused by this anxiety. This psychoanalytic explanation seems irrefutable. Irrefutability entails the recognition that the conscious or unconscious realization of the unrefusability of tradition is the root cause of all "anti-traditional" people's "anti" behavior.

"Anti", by its very nature, is not anti, and even the "anti" of leaving tradition is only "evasion" (in the non-Bloomian sense of the word, used literally), i.e., avoiding tradition, evading it. ), i.e., avoiding the tradition, dodging away to try to make a "new way". Dodging brings out the ephemeral nature of tradition: ephemerality is the linearity of extension, and since dodging means leaving the ephemeral nature of forward extension and trying to expand horizontally. Expanding horizontally is naturally also a spatial expansion, but in any case it stops in the straight line. In calligraphy, the use of keys, whiskers, and other "new" tools, and in poetry, the deliberate inversion of words into phrases, words into sentences, and so on, are all such a way of avoiding the horizontal expansion that stops on the ephemeral line. Horizontal expansion is an extension of the *** time axis, it is because of the horizontal and thus canceled the tradition of the first time, for example, since in the calligraphy tradition of the time line has not been "key calligraphy", "key calligraphy" has the first expression of the first brought property rights or the first time. The first expression of "Key Calligraphy" has a property right or precedence. This way of seizing (not reclaiming) precedence is a shortcut to the end, but whether or not it can truly seize precedence depends on whether or not it is truly innovative. Hocus-pocus will always be forgotten and ignored by the tradition that continues to move forward. But even if it is innovative, the influence of tradition will still show itself in it in the form of echoes of the works and methods of those who came before, and, once recognized, it joins the tradition and becomes part of its ****temporal content and of its ever-continuing ephemeral content.

In comparison, the "anti-tradition" based on creative "misreading" is much more rational, it is based on the recognition of the tradition, but also recognize that the tradition must change. Creative "misreading" and "dodging" both create a rupture in tradition, and both function objectively to attempt to metabolize tradition, but the rupture created by creative "misreading" is based on the idea of "continuity," i.e., forward extension or development. However, the rupture created by creative "misinterpretation" is based on continuation, i.e., forward extension or development, as its starting point and purpose. The rupture created by "dodging" is only for the sake of countering, and it puts tradition aside. Judging from its manifestation in literature, "dodging" for the sake of countering is always devoid of a sense of history. An existence without a sense of history is merely an "unconscious" existence, or at least it is non-literary, non-poetic, and non-temporal. Therefore, even if it sometimes succeeds, it is only by chance, by accident.

Tradition, in short, is that which you cannot reject, and therefore cannot reject, but which you must question, oppose, and which, if your opposition succeeds, succeeds in the sense that your opposition feeds into the tradition and invites those who come after you to oppose you as well.