Personally, I don’t think Chinese poetry is worse than Western poetry. Each culture has its own connotation and characteristics, and they are all magnificent treasures in world culture. Chinese poetry has a long history and rich cultural heritage, especially the ancient poetry, which is so beautiful and beautiful that it makes one's mouth linger after reading it.

But if you really need to demonstrate the so-called difference, Baidu search can find such a statement. I'll copy it.

The gap between the ecological environment of poetry

(Continued from above) When it comes to the gap between the ecological environment of poetry, many people will mention Derrida’s “There is nothing outside the text” and think that poetry The ecological environment cannot influence the creation of outstanding poets, nor does it constitute the gap between Chinese and Western cultures. In fact, this is just a wonderful illusion. Of course, the poet's creation can be independent of various external constraints, but communication cannot be independent. outside society, because communication itself is a social behavior. Just think, when your text is blocked by society, how will readers know about you? What can we use to speak for an era and a country? Therefore, when the creation and dissemination of outstanding poets of an era fail, the culture of this country and nation can only be left to the world as an "illusion". For example, when we regard the "Goethe style" during the Cultural Revolution as the national elite and When communicating with the Western world, it is inevitable not to leave an impression on the world that this nation's culture is backward, shallow, and of low taste. Moreover, the ecological environment of poetry creation not only affects an era, but also directly affects the inheritance of national culture, because literary history is the product of such constraints. Take the "Book of Songs" and "The Book of Changes" as examples Well, as we all know, "The Book of Songs" is the earliest collection of poetry in our country, but if compared with the "Book of Changes" that was born earlier, its symbolic metaphor skills are like that of a child, and it can only be regarded as a collection of poems at best. A collection of popular culture, so where is the "Book of Songs" of elite culture that is truly capable of keeping pace with the "Book of Changes"? If there is none at all, then where do the profound symbolic metaphor techniques in the "Book of Changes" come from? Could it be that the cultural elites of that era didn’t write poetry specifically to write hexagrams? Could it be that the "Book of Changes" was written by aliens? Therefore, if another "academic" "Book of Songs" can be handed down to the world, the achievements of Chinese poetry will definitely not be what they are today. Maybe today's so-called "Nobel Prize" may be China's Zhuangzi Prize and Qu Yuan Prize. This has been since Qu Yuan After Zhuangzi, Chinese poets became more and more inclined to "little literati" and "personalized" writing, which is the best evidence. It shows how important the ecological environment of poetry is to the healthy growth of poetry art.

With the lack of critics, poets’ writing is reduced to “existence is reasonable”

Critics and poets have been a contradictory unity since ancient times. We often say that “dead people die in criticism” "In the hands of the family" is also based on this contradictory correspondence. In this set of contradictory correspondences, critics emphasize rationality and generality, while poets emphasize sensibility and individuality. This confrontation is like the confrontation between a kite and its string. The critic not only regulates and limits the poet, but also completes the poet, so that he will not The kite that allowed the poet to become absolutely free fell down after a few happy moments, because the other end of the string is held by the audience, and the critic is just a "quality inspector" serving the audience and the poetic art system. But in China today, this kind of confrontation no longer exists, because the identity of the critic has been replaced by the "plagmatist", so the so-called "criticism effect" is naturally dispensable.

Critics are losing their independent personality

When a critic gives up his duty to criticize, it means that he has become "unemployed". If he becomes an unprincipled flatterer again, he will become a critic. However, the current negative examples are not an isolated phenomenon. They have even become commonplace. Almost every third- and fifth-rate poet with a certain financial strength can easily win over a large number of well-known touts. For example, in the "Central Body" incident that was exposed by Fang Fang not long ago, the people involved in the tout were people like Xie Mian, Tu An, Yang Kuanghan, Wu Sijing, Chen Dingjia, Xia Kejun, Qi Ren, etc. who are highly respected in the industry. In the industry's "LinkedIn" list, doctors and professors are not even on the list. Another example is the incident of "Xiao Tian Ti" winning the Lu Prize. The person who took the lead in "playing the flute" turned out to be Wang Meng, a big shot with many resounding titles such as minister and chairman... Then, "Central Ti" and "Xiao Tian Ti" are serious. Is it so outstanding and great that it is unprecedented and will last forever? I'm afraid those street stalls selling Dali Pills don't believe it.

The professional qualifications of critics are also questionable

Which poets do critics serve? There is no doubt that those outstanding poets who have made double breakthroughs in textual thought and artistic form will be rewarded for their contribution to the history of the development of poetry art, and their new discoveries will be transmitted to the entire poetry world as soon as possible. But Chinese critics mostly serve those random sentimental poems. Behind almost every beautiful adolescent poet there are a lot of famous critics. It makes people wonder, what are the professional Western ones you studied in school? Can theory be applied to these feeling poems? Sensory things are instantaneous and fleeting, and cannot form a contradictory unity with poetry criticism. Asking a critic to serve it is equivalent to "using the same strength as Tan Sitong to kill a chicken" (Chen Xianfa's words) .

Obviously, the professional qualifications of these so-called critics are very questionable. It stands to reason that critics should first be excellent poetry connoisseurs before they can talk about poetry criticism. However, the identity of Chinese critics is accumulated by diplomas and not It is not the result of natural selection. It seems that you can become a critic by reading a few literary criticism theories. This will disqualify you from confronting poetry, a spiritual thing (not equal to the previous sensibility). I wonder if you have no appreciation of poetry at all. How can you dare to judge others’ talents? Therefore, the so-called theoretical articles in China have the following characteristics:

Don’t dare to give examples

For literary criticism, the effectiveness of arguments and examples is ranked first, because there is no An example is not poetry theory but "poetry talk". Poetry talk does not need critics to write at all. Poet's poetry talk is more than n levels higher than it, because the direct experience of poetry spoken by first-line poets is far better than hearsay. There are two reasons why critics "dare not give examples". First, they are afraid of offending others, so they simply don't give examples. Secondly, I have no confidence and cannot be sure, so I have to cite extreme examples known to everyone. These two points are taboos for critics. How can you prove the originality of your article by just summarizing and listing phenomena? Because these phenomena originally come from the collective observation of society. For example, Dr. Deming published the headline article "Ten Sins of Spoken Poetry" published in "Star Theory Monthly". The ten crimes could not catch a single "criminal". So, in addition to gaining the concept of "Spoken Poetry is Sinful", readers will gain Besides, what else is it used for? Tomorrow someone will post another article called "Twenty Sins of Written Language". Well, Chinese poets should just stop writing poetry. It is guilty to write spoken poetry, and it is also guilty to write written poetry. Isn't this counterproductive? As for those phenomena, people on earth have known about them for n years. Isn’t it too late for you to speak out now? Articles that specifically cite examples of extreme filth and messiness are even worse. Rather than criticizing fakeness and ugliness, they are more like "helping the tyrants to do evil". For example, Shen Haobo's "A Pair of Good Breasts" and Yin Lichuan's "Why Isn't Feeling Comfortable Anymore" Some "are simply not qualified to be published in print media and only harm the ecological environment of poetry on a small scale. As a result, the critics' arguments have been published tens of millions of times, and the Internet has spread to traditional mass media. These mediocre poets have become celebrities. Therefore, it is better to digest this extreme phenomenon on the Internet. The dissemination of paper media has no positive effect except increasing the harm and public hostility towards poets.

Don’t dare to have opinions

In reading articles by famous writers in recent years, except for a few theoretical articles by Mr. Zheng Min with truly independent opinions, most of the articles are It is difficult to rise to the level of original theory. Even many well-known theorists use foreign words to deceive people when they are unable to digest them. For example, Xie Mian talks about it all day long, "Poet's creation is aristocratic." , but the communication is popular." This sentence is a philosophical name for the nature of poetry creation, but the place he used it is to answer whether poetry is for the aristocracy or the masses. This is similar to saying, "All mothers are great, and all children are leaders." One is "behavior" and the other is the "fruit" produced by behavior. How can two completely different propositions be mixed together? The former is of course great, because they all have to go through the pain of ten months of pregnancy, but it cannot be said that all children become one kind of child. In the same way, although the creative process of poets is as noble as "preaching for heaven", poets are first of all social beings and will ultimately serve human nature. Therefore, their works include "Li Sao", "Heavenly Questions", "Tian Wen" The aristocratic culture such as "Eight Poems on the Rise of Autumn" naturally also has popular culture such as "The day of hoeing is at noon", "The moonlight is bright in front of the bed", and "Spring sleeps without waking up to dawn", but both are poems, and any one of them is omitted. Neither of these is the essence of the art of poetry.

It is precisely because Chinese critics are unable to form a contradictory unity with poets that the distance between poetry criticism and poets' creations is getting farther and farther, and now it is even so far away that it is almost "invisible". Every Chinese theorist's resume states that he has published numerous poetry theory journals such as xx, xxx, xxxx, etc. However, most poets have never even heard of these journals, let alone benefited from them. On the Internet, almost no one cares about it. This has to be said to be a disaster for Chinese poetry. On the one hand, the rigor of classics and masterpieces without the filter of critics is questionable. On the other hand, it also causes trouble for translators and affects the spread of Chinese poetry. For example, in Feng Zhi's "Snake", my loneliness is a snake. This snake called "Loneliness" can also miss lovesickness. Doesn't it mean that loneliness can make me miss lovesickness? If it is translated according to the original text, will Western readers put all the blame on the translator? You can't say that the poet is mentally retarded.

The gap between editors and judges

China’s editors and judges are not the result of self-selection by the poetry community. Like those official critics, most of them have mediocre poems, mediocre views, and amiable personalities. good old guys (as evidenced by the fact that only 2 of the 11 judges did not vote for "Xiao Celestial Body"), and this phenomenon of inbreeding of "good old guys" is still going on, then, in a peaceful era when the system does not need poetry as a drummer, China's so-called It’s not surprising that award-winning poems and poems by famous writers have become the same as theirs. But they themselves do not feel mediocre (if they knew it was mediocre, they would not write like that). Instead, they think it is the best poetry in China.

For example, in response to the overwhelming criticism from readers about "lamb body" and "whispering body", the judges responded calmly and plausibly, without feeling any guilt at all. Why is this? Because what they write is the kind of warm swallowing water that is not painful or itchy, they naturally turn a blind eye to this kind of middle-class burp. This is similar to Zhu Bajie who can't catch the goblin. He only admits that he is the marshal of Tianpeng, but never admits that he is. pig. When you accuse them of being mediocre, they will occasionally use some cute poems by boys and girls as pioneers, such as seeing their parents having sex, touching their private parts in the shower, etc. They probably think that the readers of Chinese poetry are also like those behind the stars. Just like the "fish chasers", if you smell a bit of fishy smell, you will feel happy.

We cannot force the current gap in poetry appreciation among editors and judges. After all, poetry skills come directly from rigorous writing training. We cannot force them to discover the technical loopholes of those with higher writing standards than themselves. But we can tolerate their "tactical" incompetence, but we cannot tolerate their "strategic" blindness, because after all, they have the right to speak in the poetry world's paper media and can influence the writing of millions of beginners. direction. What is the "strategy" of poetry appreciation? Of course, it is a macroscopic grasp of the entire development situation of the current world and a grasp of the overall development trend of the world poetry world. The former determines the spiritual direction of poetry creation, and the latter determines the artistic direction of poetry development.

The gap in guiding the spirit of poetry

The so-called "poetry spirit" refers to the poet's spirit of responsibility and sense of mission, although I do not advocate that the poet's writing is too close to politics and becomes political. He is a cannon fodder, but he also does not want to become a "little turtle" who is indifferent to worldly affairs. A strange phenomenon that is puzzling is that even though events can be reported publicly in popular newspapers, television, radio, etc., the poet has lost his It seems that poets are lower than newspaper commentators and essay writers in terms of qualifications for intervention. The "civic consciousness" of these editors is really questionable. Well, you don’t have to get involved in the specific social reality. You should always advocate the writing of poets who pursue ultimate value, universal value, and eternal truth. Unfortunately, this kind of poetry with pattern, volume, and depth is also Having been banned by them, it seems that all Chinese poets have become idlers with no ambitions. You can't wait until those poets win the Nobel Prize and then go back to find someone to publish them, right? !

The gap in artistic direction guidance

As an editor, you should at least know what the overall development pattern of the current international poetry world is, and at least be able to distinguish what is modernism and what is modernism. Postmodernism, after all, we cannot close the door and just fabricate a style to be arrogant, because we are latecomers to the world of new poetry after all, but the current phenomenon of "secondary invention of the unicycle" and passing it off as an "electric car" is in Official journals have become commonplace, and it would not be an exaggeration to say that the current editors of these official journals are the ones holding back Chinese poetry. For example, Shen Haobo's poems in the recent monthly poetry star column of "Poetry Magazine":

"Those Tired Faces"

Shen Haobo

Those Tired Faces

Those tired ones

The leeches have sucked enough blood

The slowly swollen faces

Those swollen faces

Those Swollen

Immersed in a trance at dusk

Slowly darkening faces

Those darkening faces

Those darkening ones

Souls filled into millstones

Slowly blurry faces

Those blurry faces

Those blurry eyes

Eye spit out Bubbles

Slowly disillusioned faces

Those disillusioned faces

Those disillusioned ones

Dark clouds are driven away by light

Those pale faces

Those pale

Life is hit by a giant hammer

Slowly Shattered faces

Those shattered faces

Those shattered faces

Despair licked flat by time

Slowly numb faces

p>

Those numb faces

Those numb

Memory ripples

Slowly sad faces

Those Sad faces

Those sad faces

Water vapor evaporates into the air

Slowly moist faces

Those moist faces

Those moist ones

Green grass grows from the land

Slowly gentle face

If Shen Haobo moved from the West, the lower body that had been eliminated in the last century If the concept of the bicycle can be regarded as the "second invention of the bicycle", then this so-called "poetry star" work can at best be the "second invention of the unicycle", because this old-fashioned symbol of subjective romanticism has been eliminated by the poetry world for more than a hundred years. If This kind of subjective lyricism with no sentences can still have a negligible communication effect in the West (the West has religious inheritance), but it is of no use in China because it has two major congenital flaws: Second, it lacks a clear objective correspondence It makes the criticism effect almost zero. It is similar to what we often call "health product writing". It can cure any disease, but it can't cure any disease. Secondly, controlled by a hysterical emotion, "I" as the lyrical subject can easily become the incarnation of Sakyamuni and Jesus Christ, making the reader his personal passive admirer.

Let's look back at Eliot's evaluation of this kind of eliminated poetry decades ago:

"The mistake of Romanticism is not only the naive belief that human nature is good, but also the excessive self-absorption, like the "evil spirit" "Possession" caused the poet to play the role of God's substitute in a state of proud isolation, exaggerating the truth value of personal opinions, fictionalizing a moral universe ruled by relativity, becoming increasingly disconnected from the reality of existence, and therefore A heresy.”

Let’s take a look at the comments written by the famous poet Lei Pingyang:

Shen Haobo’s “I” has never pretended to be Jesus Sakyamuni, nor is it the poetry world that is full of eyes. One of the pseudo-Taoist priests. This "I" is full of blood, evil thoughts, compassion, trickery, pretense, anxiety, helplessness, irony, self-flagellation, bitterness, determination to die, indifference, pathos...all the haggis of modernity are mixed together, as if it were... A meat grinder designed to cope with the era of vigorous and high-speed operation. This "I" is not afraid of being shattered to pieces, and can often be resurrected through corpses; this "I" is the contemporary accomplice of its opponents and the principled gravedigger of their opponents. Sometimes, I even feel that Shen Haobo is very cunning, like a lurker in a drama. He is well aware of his opponent's tricks, weaknesses and strengths, and can deal with them, and then uses the opponent's words to present the reality of our era. The flower of evil foretells our common doomsday scene.

If Shen Haobo's poem can be regarded as the "second invention of the wheelbarrow" of the romantic symbolic poems of the last century, this comment is similar to Zhao Gao's era of calling a deer a horse, because this comment is pure for this poem. It’s a 180-degree opposite nonsense. The subject of this poem plays the role of Sakyamuni and Jesus Christ. At this moment, “he” is sitting condescendingly in the clouds, watching all sentient beings suffering. He was so worried about suffering, as if he was about to press down on the clouds, and began to save all sentient beings to save people in distress... Such nonsense comments are paired with such clichéd poems, and the damn "Poetry Star", the IQ of the editor of "Poetry Magazine" It is indeed doubtful. What kind of trend-setting do you think this is? Is it atypical and misleading people? !

The "welfare" gap

If the poet's royalties, appearance fees, teaching fees, etc. can also be considered a kind of "welfare", if society's respect for the poet's identity can also be considered a kind of "welfare" The words "soft welfare" remind me of what the poet Xi Chuan once said: "It's so unfortunate for a poet to be born in China." I don't want to repeat this because an article is titled with this "famous quote" from Xi Chuan. The article has been circulating on the Internet for a long time. You may wish to search and take a look. Here I just want to talk about the damage caused to poetry:

1. Writing in adolescence has become the spokesperson of "Chinese poetry"

Although writing poetry is not a profession, Although there is no need for professional poets in any era, it is undeniable that once an industry (even if it is an amateur industry) makes most participants feel uninterested, it will inevitably affect the healthy development and achievements of this industry. If we look back at the development history of new poetry over the past century, we can easily find that any so-called poetry ranking activity organized by the Chinese government is almost exclusively a history of adolescence rankings, whether it was Xu Zhimo or Dai Wangshu before the founding of the People's Republic of China or Beijing in the past thirty years. Dao, Shu Ting, Gu Cheng, Haizi, Xi Murong, Wang Guozhen, etc. might as well be like this. Why is this? Because except for some reasons for dying young and becoming famous unexpectedly, most people have changed their careers and fallen under the more affordable disciplines of novels, essays, essays, and even calligraphy and painting. This leaves the peak of writing in adolescence. The juvenile and childish works represent the writing of old and mature masters from China and the West to compete. Isn't it a typical egg against a stone? This has to be said to be a disaster for new poetry, because if the average age of Western poets when they write their masterpieces should be between 35 and 45 years old, then it is reasonable for the current average age of Chinese poets to write their masterpieces to be 45 to 55 years old, because We have at least ten more years than others to repair the break in inheritance between ancient poetry and new poetry.

2. College students cannot read modern poetry.

Any kind of art exists and develops based on social needs, and the art of poetry is based on the core part of social needs-soul salvation. , but because our teaching materials have not changed for decades, they are all old-fashioned non-modern poetry, and modern poetry is evolving too fast driven by the Internet, and the mass media basically rejects poetry. As a result, the distance between poetry and the Chinese public is getting further and further away. Now even college students who have just graduated from school can understand a modern poem very well. Could this not be a disaster for poetry? If we take the "Chinese classics" of the last century to participate in international competition, can people not say that Chinese poetry is poor? Can people not be disgusted by using an outdated world view to redeem the souls of a new generation? Therefore, the current social trend of "entertainment to death" is directly related to the loss of the function of "poetic education" that has been passed down through the generations.

Looking forward

There is no doubt that after the emergence of the Internet, the influence of the system has obviously weakened. Even if the "Goethe style" phenomenon reappears, it can no longer control the elite culture of poetry. The overall situation of some development trends, as for the "gay awards", seminars, exchanges, and collections based on seniority that poets in the Federation of Literary and Art Circles, Writers Association, Poetry Society, etc. organize for their own entertainment, their "results" will also be It gradually fell into the category of popular culture where poetry instantly dissipated, and even became an entertainment event.

As for the real folk elite poets, they may be forced to be trapped in the Internet and folk journals at the beginning, but with the popularization of blogs, Weibo, and WeChat, they will eventually be accepted by the public, because all elite culture is transforming into mass culture. This is an iron rule. In this era, it is impossible to bury the elite culture of the Book of Songs. Therefore, I am still very optimistic about the above obvious gaps, but I am more worried about another potential gap hidden behind these obvious phenomena-the current system is difficult to allow the emergence of great thinkers who surpass Ma xx Yes, if thinkers cannot emerge, the entire cultural field will be restricted. Even if a poet is lucky enough to win the Nobel Prize, it will not have a worldwide influence.