Han Dong's great contribution to the development of contemporary poetry in China lies in breaking the rigidity of the so-called elite cultural intellectuals' writing. Most elite intellectuals stick to western written language, imposing too much difficulty and obscurity. They were once ridiculed as "foreign slaves" by "folk writers". Han Dong was the first to inject fresh and lively poetic style into new poetry, which is indeed indispensable. However, we should also see that from Han Dong, Sha Yi, Shen Haobo, and some recent drooling poems, the spoken language has been enlarged without limit, and the superficial and frivolous signs brought by imprudence have gradually appeared, and the unrestrained or unprocessed spoken language has also become drooling. There is only one word difference between "spoken language" and "drooling", but the realm is 108 thousand Li, and "drooling poetry" has seriously damaged the internal organs of new poetry. Who should be responsible for this medical accident? Obviously, it is irresponsible and irrational to put all the responsibility on Han Dong. It can be seen that "oral poetry" is also a double-edged sword, so we should be careful and never let it overflow (the poet's own artistic level also determines the quality of oral poetry). )。
China's classical poetry originated in The Book of Songs and ended in the late Qing Dynasty. European classical poetry originated from Homer's epic and ended in modernism in19th century. Classical poetry is full of heroism, and "metaphor" is everywhere in China's classical poetry and western modernist poetry, resulting in a mountain with two peaks standing side by side. To put it bluntly, Han Dong may think that China's new poetry should choose a brand-new road, which is completely different from the road of Shuangfeng. This road is full of great risks and hardships. I don't think so. Culture has a strong inheritance, so we should innovate in the process of inheritance. If China's new poetry does not inherit some skills and some essences of classical poetry, and wants to achieve another mountain, it can only be a castle in the air. China's classical poetry has a history of several thousand years, while China's new poetry started from Hu Shi less than one hundred years ago. If Han Dong only learns something from western post-modernism, he will not reach the peak of China's new poetry. He can only provide a diversified style, and at most provide a possibility for the development of new poetry. The problem of drawing nutrition from China's classical poems was noticed by many poets and theoretical experts as early as the May 4th Movement. For example, Xu Zhimo, Zhu Xiang, and Dai Wangshu, all of them have learned from and practiced in musicality, rhythm, artistic conception and imagery. I think this is just a superficial reference, just like Li Jinfa began to learn from western poetry. He just did what he did, but he didn't really do it. He only learned some artistic skills. The new poems written in this way are often four-unlike, with only the shell of new poems and the mode of traditional poems in their bones, which is not enough to give full play to the plasticity and great potential of modern Chinese. In the early days of the People's Republic of China, from 1949 to 1976, China's new poetry completely became an accessory of political tools, which meant the great stagnation of China's new poetry. It was not until 1976 that "misty poetry" appeared in China's poetry circles, which really meant the arrival of the spring of China's contemporary poetry (in the preface of Poetry of the Times edited by Han Dong, Han Dong also took 1976 as the initial period of China's contemporary poetry). Through the joint efforts of several generations of poets, China's new poems really go deep into the texture. The author believes that heroism and metaphor are equally indispensable if the process of contemporary poetry is promoted. It is true that these two weapons have been used by some poets (in terms of "folk writing" poets, especially those "foreign slaves"), but we must not forget: Never throw dirty water and throw away the children together (I once said the same thing to Xu Jiang on the forum of poetic life, involving Sha Yi's poems. )。 Those "foreign slaves" who cover up the poverty and ischemia of content and feelings for fame and wealth or mystifying are a kind of word game, but everyone knows that "poetry ends with language" or "writing poetry is writing poetry" is another kind of word game, and the essence is the same. A truly excellent poet certainly attaches importance to the expression of writing skills, because poetry is, after all, the art of language, but the masters will never damage the meaning because of their own words, and pay more attention to the deep-seated things behind the words-the heavy humanistic spirit, and make unremitting exploration and questioning on the soul, life and human beings. Only these can move people's hearts and support the lofty building of poetry. Haizi once said that "poetry is not a rhetorical exercise", which is of great significance. Writing skills may be improved, but the poet's broad and rich mind can't be reshaped by any words, only the poet's soul can be reshaped. What is a good poem? I think besides skillful writing skills, it is more important to have a profound poetic core, such as the pain of whipping the body with a whip, which may also be brought about by happiness. In short, pain touches the soul.
For China's new poems, the road will be tortuous. Finally, I used Qu Yuan's poems to encourage the poets: The road is long and Xiu Yuan is Xi, and Xiu Yuan is Xi, so I will go up and down. Although old-fashioned, it is also true.