China New Poetry School is a school of poetry with modernism tendency in War of Resistance against Japanese Aggression's later period and the War of Liberation. The main members are Xin Di, Mu Dan, Chen and Du. The main publications are Poetry Creation and China New Poetry. They emphasize the unity of reflecting reality and excavating the heart, and their poems have a broad vision and a strong sense of the times, history and realistic spirit. In art, they consciously pursue the combination of realism and modernism, and pay attention to creating novel images and realms in poetry. They inherited the modernism tradition of China's new poetry and contributed to its development. The nine poets are Cao Xinzhi (Hang Youhe), Xin Di (Wang Xindi), Chen, Tang Qi, Tang Shu, Du, Mu Dan and Yuan Kejia. They published "Nine Leaves Collection" at 198 1, so they are called nine leaves poets. The formation of the Nine-Leaf Poetry School (1938- 1948): during the period of the National Southwest Associated University (1938-1946)1July 29, 937, when Beiping fell,/kloc-0. The Preparatory Committee of Changsha Temporary University was established in Nankai University. 1937-9- 10. The Ministry of Education announced that Peking University, Tsinghua University, Nankai University and Academia Sinica had established the National Changsha Temporary University. 1938- 1- 19, the National Government approved Changsha Temporary University to move to Kunming. +5438.56006666 The Ministry of Education changed Changsha Temporary University into National Southwest Associated University. Among the conference teachers, Chinese poets: Wen Yiduo, Li Guangtian and Zhu Ziqing, and Foreign Languages Department: Bian and Feng Yiduo began to change their literary concepts from aestheticism to emphasizing the social significance of poetry. In Poetry and Times, they said, "I should put forward that we should attach importance to the social value of poetry. ..... Poetry is breathing with the times. " Sonnets edited by Feng Zhi (published by Guilin Tomorrow Society in May, 1942) was influenced by Rilke, a master of symbolism and a pioneer of existentialism. He pursues "invisible things", questions death, rejects and protests modern civilization, and yearns for simplicity and tranquility. Poetry was published in May of the 10th year 1942, The Art of Poetry was published by Guilin Tomorrow Society in Li Guangtian. 1944, 1944 In February, Yan Busun, a modern British poet and new critical theorist, was employed by Mingkai Bookstore General Association to offer a course on contemporary English poetry. He came to China from 1937 to take up his post. 1940 Poetry Activities of College Students Returning to the League of Nations. Literary societies of the Congress: 1940- 194 1, "Holly Literature Society", Du, Wang Zengqi, Lin Lunyuan, etc. Literary societies. "Three Stars": Mu Dan (Department of Foreign Languages), (Department of Philosophy), Du (Department of Foreign Languages), Tang Qi and Yuan Kejia (1947, 7- 1948, 10). Poetry Creation was written by Hang Youhe and Yuan Kejia. * * * Issue 16 has been published. In the first stage, the inclusive editing principle was adopted. Poets have a huge lineup, with more than 170 authors scattered all over the country, which has a great influence. The inaugural issue explained in a redundant place: "Today, in this countercurrent day, it is an urgent need for everyone to achieve peace and democracy. Therefore, we attach equal importance to it regardless of whether it shows the feelings of intellectuals or the feelings of working people. "1948 In the first half of the year, there were differences between the founders in the purpose and principle of running the magazine, and Hang Youhe decided to quit and set up China New Poetry and Poetry Creation, and set up an editorial board composed of Lin Hong, Kangding, Shen Ming and Fang Ping. Both Lin Hong and Cang Kejia believe that publishing more newspapers has a strong fighting atmosphere and is closely related to people's lives. Hangyohe, on the other hand, advocates paying attention to artistic conception and tone, doing more artistic exploration in poetry and opposing vague works with slogans. In the second stage (July1948-June 10), the editorial board said in "New Starting Point" that "starting from this series, it should be published in the largest space to strongly reflect the reality." It needs simple, healthy, powerful, true and realistic poems based on the real feelings of life, and does not need sentimental and decadent works belonging to individuals, or mysterious and unfathomable things. We advocate easy-to-understand language and forms acceptable to ordinary readers, which should be improved on the basis of popularization and popularized under the guidance of improvement. "China's new poetry" period (1948, 6-6544). 10) China's New Poetry was first published in June 1948 by Xingqun Publishing House. After only five issues, it was blocked by the publishing house. Hang Youhe, Xin Di, Fang Jing, Chen, Tang Qi and Tang are the backbones of the editorial board of China New Poetry: North General Manager, Mu Dan, Du Fu and Yuan Kejia. The name of Xin Di's Nine Leaves is 1980. Yuan Kejia, Chen and Hang Youhe edited Nine Leaves Collection 198 1 in Beijing. Peony, a poet with nine leaves (1965438-65438), was published by Jiangsu People's Publishing House. His original name is Cha, and he was born in Haining, Zhejiang. 1929 was admitted to Nankai middle school and started literary creation. He was admitted to Tsinghua in 35 years, and stayed there to teach after 40 years of graduation. He joined the Chinese Expeditionary Force in 42 and worked as an interpreter in the anti-Japanese front in Myanmar. In 1945, he published his first book of poetry, Expedition. In 1948, he went to the University of Chicago to study English and American literature, and obtained a master's degree of 5/kloc-0. Poems such as Pushkin and Shelley were translated and published. After 58 years of unfair treatment, he was forced to stop teaching and work in the library. He died in Tianjin on February 26th, 77. In 79, the unjust case was rehabilitated. Published poetry collections include: expedition in October of 65438+45, Mu Dan's poetry collection by Kunming Wenjushe in May of 47, Mu Dan's poetry collection by Shenyang (self-printed) Banner in February of 48, and selected works by Shanghai Cultural Life Publishing House. 1The Complete Works of Mu Dan's Poems published by People's Literature Publishing House in 1996,1The Seduction of Snakes published by China Literature Publishing House in April 1997, and Mu Dan's Poems published by Zhuhai Publishing House are the full combination of emotional depth, sensitive breadth and expressive force, and have the breath of Eliot's The Waste Land. The defect is that some sentences are slightly lengthy, cumbersome and full of emotion, while others are mixed. Ai Qing's evaluation of the artistic style of Jiuye Poetry School can be summarized as: "Accept the reality of new poetry. Using the expression techniques of European and American modernism, it depicts the social phenomenon after the great turmoil of the war. " The modernist's expressive skill is 1, and the indirect expressive form is the lyrical style of objectivity of image/symbol/metaphor; The strong concern of ideology for the fate of the nation and people-Mu Dan's endless stories are endless disasters, but his silence is love, an eagle flying in the sky, and his dry eyes are looking forward to spring. I have too many words and too long feelings. I want to hug you with desolate deserts, bumpy roads, mule carts, trough boats, wild flowers and rainy weather. You, people I see everywhere, people living in shame, people with rickets, I want to hug you one by one with blood-stained hands, because a nation has risen. The strong concern for the fate of the country and people inspires us, and we are often lost in our own small world. When we pick up a shell and catch a caterpillar, it will cause a burst of joy. It seems that the world already belongs to us, but we are trapped by a hazy cloud. -Turn it over and jump. Today, in our hands, we will not sigh easily. The falling of a star and the breaking of an eggshell indicate some worries in the future and point out the way forward for us. Because of the changes in their lives, they have filled in many rugged bumps, led us to a new world-a world outside our own, and thought about the significance of life in the times and history. Mu Dan, we hope that we can have a hope and then humiliate, suffer, struggle and die. Because we are brave in our bright blood, but in the center of courage: we hope we can have a hope. It says: I'm not beautiful, but I won't cheat again, because in despair we see so many dead people with tears in their eyes. _ When years of pain end in silent death, all we expect is a promise, but it is just a void. We only know that before happiness comes, we are just ancestors of human beings, and we want to open up new points in the nameless darkness, but there is a long-standing shame at this starting point: cold stabbing the bones of the dead will ruin our lives, and we only hope to have a hope as revenge. Zheng Min, I have never really felt the profound tranquility as I feel from the posture of a tree. No matter when I woke up from that thought, my eyes met him standing in the same posture, and the stars moved between his arms. Under his gaze, the stream flowed slowly, birds came and went in his chest, and he prayed forever. Meditation seems to grow on eternal and quiet land. Golden rice in Zheng Min stands in the autumn field after harvest. I think of countless tired mothers. On the way to dusk, I saw that beautiful face full of wrinkles. The full moon on the harvest day is at the top of the towering tree at dusk. In the distant mountains, there is no sculpture around our hearts that is more silent and bears great fatigue. You bow your head in this long autumn field. Silence. Silence. History is just a river flowing under your feet, and you standing there will become a concept of human beings: "Yuan Kejia's advocate of the modernization of new poetry 1947-3-30 Tianjin Ta Kung Pao Zhou Wenyi published the concept of" modernization of new poetry-seeking new traditions "-modern poetry shows a high degree of comprehensiveness: strong self-awareness, equally strong social consciousness, realistic description and The effective use of "big memory", the indifference of abstract thinking and keen feeling, the foil of light and heavy factors. In other words, modern poetry is a new traditional lyric way that combines reality, symbolism and metaphysics. _ Implicitness or indirectness of language expression. (Ta Kung Pao Weekly Literature and Art in May18,47) Replace the seemingly frank and true direct explanation with concrete things equivalent to thoughts and feelings. Special construction rules of image metaphor (I hate the emptiness and vagueness of romantic image metaphor, and think that only by finding images or metaphors of things that are extremely irrelevant on the surface but similar in essence can we express ourselves accurately, faithfully and effectively; According to this principle, the generated images are surprisingly bizarre, fresh, surprisingly accurate and rich. The structure of the whole poem is arranged by the logic of imagination (predecessors used multi-concept logic to judge its development from the most obvious and simple prose meaning in the poem, and modern poets believe that only the logic of poetic sentiment evolving through continuous images is the standard for criticizing the structure of the poem. Under the guidance of imaginative logic, they collected various experiences with different surfaces that may actually have synergistic effects. Expand, deepen and increase the meaning of this poem. ) Flexibility and toughness gained through the new application of text. 2. The lyrical way of modern new poetry. The dramatization of new poetry (Poetry Creation,No. 12, June, 48) tries to make it dramatic by transforming will and feelings into poetic experiences. And avoid the bad tendency of preaching or sentimentality. Try to avoid straightforward positive statements and entrust the author's will and emotion to quite a few external things: the first principle of dramatic effect is objectivity and indirectness of performance. Dramatization has at least three different directions. First, Rilke, as a representative, combined the search for his inner gain with the nature of external objects (dynamic and static) to express his poems. At first glance, there is no Rilke himself in the poem. In fact, it shows the soul of the most complete poet. Second, represented by Auden, he wrote the objects of his poems on paper through psychological understanding, and used his wit, cleverness and special ability to use words to write them vividly. The poet's sympathy, disgust, hatred and irony for the object are only partially manifested in tone and metaphor, and never exposed. Third, he simply writes poetry and drama. No matter which direction he wants to dramatize poetry, he must break the superstition that poetry is only passion. No theory hurts poetry more than letting go of feelings. Whether you express your will or enthusiasm, whether you complain about individuals or groups, you should integrate your ideological elements from the depths and essence of things and transform your experience. Otherwise, even if you keep a straight face or show your chest, it is difficult to arouse the reaction of poetry. Mu Dan advocated "new lyricism" (Collection of Letters of Consolation-Excerpted from Fish Collection) and Ta Kung Pao (Hong Kong Edition) on April 28th, 40, in order to show that society or individuals are generally moving towards the bright side in a certain historical development and make poetry and this era become a great emotional harmony. Rationally motivate people to fight for good things. I focus on the word "rationality", because in today's poetry world, there are too many passionate poems, which have no basis in the depths of rationality. It seems that it is only because of the author's hysteria. Not only can it not arouse a sense of * * * among readers, but it will make ordinary people feel that the poet's reaction to things is contrary to them after all. "New Lyrics" reminds me of the poet Ai Qing. Trumpeter is a good representative. In this poem, we can feel the strong combination of emotion and image. Strong rhythm, big rhythm and cheerful tone-New China is like this, so should the lyrics of "New". The contribution of Jiuye Poetry School to Crescent Poetry School and Modernist Poetry in 1930s was mostly confined to personal feelings. I don't feel enough about the complexity of life, so Jiu Ye's poems explore the combination of life and the reality of the times and art, forming a kind of synthesis or balance, that is, "don't let art escape from reality and let reality stifle art".