The headlines often see a very hot subject: is it only by the gertrude that modern poems, with their saliva and their emptiness, can be saved
The comment area is always polarized. The one who denounces modern poetry for not having a threshold, calls it poetry by simply dividing it, and calls for a return to gertrude is the orthodox of poetry; the other who mocks it is an antique, a frameless idea that is no longer suitable for the present time。
But aside from the mood, the subject itself is a hypocritical one。
Gertrude cannot save modern poetry, nor does it need to be saved by gertrude. Old and new poems are not a relationship between the sick and the medicine, nor are they a substitute for each other. The two are part of chinese poetry and fit for different times, and they are two creative paths of parallel development. Putting down confrontations and frustrations today and making this matter clear。
I. Grateful poetry and modern poetry are not part of the same system
Many of those involved in the debate do not distinguish between the two by nature, but simply stand by and express themselves。
It is a classic chinese-language art form that matures in the tang song era. It has a clear set of hard norms: fixed sentence numbers, strict symmetrical alternations, uniform rhymes rules, and the biblical link between the poems also calls for war。
It's a beauty, a beauty of discipline. Words, words, rules, words, etiquette, reading. It's perfect for the ancients to express their intuitive feelings, write mountains, and take care of them。
But it is also limited. A solid format framework would limit the breadth of expression and would make it difficult to fully absorb modern man-made emotions, urban life patterns and complex and multifaceted thinking。
The modern poem, the new poem, was born of the five-and-a-half words movement. It was born to break the bonds of the old law。
It is no longer compulsory to be smooth, rhymed and war-like, to use white words as a vehicle, to use images, emotions and ideas to impress readers, to be free of words and to be flexible in their expression。
Its advantage is to accommodate all aspects of contemporary life. It can write about the anxiety of the urban population, the small and tenderness of the pyrotechnics in the world, or the reflection of the times, the struggle of the heart and the expression of the modern。
In short, gertrude is the art of classical aesthetics and modern poetry is an open carrier of contemporary spirituality. It's a deep-seated, white-language language. It's not the same logic at the bottom。
Ii. People's hope in gertrude is a cognitive illusion
People are repulsive of modern poetry, not of modern poetry, but of the proliferation of low-quality saliva works。
The threshold for the creation of modern poetry appears to be low and does not require special learning in the field. A lot of people publish words as poetry in simple branches. In the absence of formal constraints, there are a number of empty, rough, unimpressed texts that reduce the general public's perception of modern poetry。
So a lot of people came up with the idea that modern poetry is not good, that it is rooted in a lack of discipline, and that the quality of poetry can be enhanced by a melody。
It's actually a big mistake。
Gertrude is just a formality, not a filter to filter a good poem。
In the old days, there have been many ethosssings that were fully compliant and that remain ordinary. Much of the work is hymn, but it's not a good poem。
A poem can be passed on, never in external format, but in genuine emotions, unique images, deep reflections and fine language。
Gertrude can solve the problem of unsophisticated reading without solving the problem of having a soul. The tumultuousness of modern poetry, which is more the result of the uneven level of creators and their agitated creative mentality, is not a defect of the stupor itself, and cannot be addressed by applying the old body style alone。
Iii. A true way forward for poetry: learning from, not replacing, one another
A lot of the opposition from the media to the old and new poetry has to be distinguished from the top. It is essentially creating a flow of conflict, not a serious literary discussion。
There is a general view in the literary community that old body poetry follows the rules, but is prone to a lack of freedom; modern poetry is fully free and some works lack rules。
It's not just the stint of war, it's the power of the ancient thongs, the rhythm of the language, the ability to condensate, and the beauty of the chinese hymn。
There are a number of good modern poems, albeit not in compliance with the old body laws, with streamlined language restraint, accurate impressions, and an implicit hymn of chinese language. Having a spirit of free expression and absorbing the aesthetics of traditional poetry is a logical lesson, not a rigid reproduction。
In turn, the open perspective of modern poetry, the inter-agencies of times can also inspire the creation of traditional poetry. Now many of the authors of old metagraphs are no longer mimics of ancient clay, using the glare to write about contemporary life and rejuvenating the classical system。
The ideal state of both is beauty. Prejudicing the style, studying the ethos and passing on the traditional culture of the country, and loving free speech, writing modern poems and recording the sound of the present heart. There is no need for one party to defeat the other。
Iv. Jumping out of the flow trap and rationalizing poetry
In the end, a few core points were combed out, and it was not easy to get caught in a web fight。
First, gertrude cannot save modern poetry. The two independent chinese-language poetry systems fit into different times and external forms do not compensate for the kernel deficit。
Secondly, modern poetry cannot speak of the need for salvation. There is a great deal of mediocre work at any given time, and poor work is a problem at the creator level, which cannot be used to deny the whole body of thinking。
Thirdly, old and new rivalries are mostly traffic-related. Those who really write poetry do not exclude a certain kind of craft, but rather value the creation itself. A poem is a good one, a good one, a good one, a good one, a good one, a good one。
The essence of poetry is to keep the heart alive and record the times in fine language。
External rules can vary and can be expressed in diverse ways, but honesty and beauty are always the bottom line for all poetry to lose。
What do you think of that? What do you think the biggest problem with modern poetry is? The comment section is welcome。
# gerontic poetry #
