What are the requirements of modern poetry?

1. Content: beautiful imagination, seeing the extraordinary in the ordinary;

2. Ideologically, we should write touching feelings. That is to say, personal feelings and experiences should be added;

3. in terms of format, you can branch by sentence or by content.

Modern poetry is characterized by its high generality, vivid image, strong lyricism and harmonious musicality. That is, it can reflect life most succinctly, with strong emotional color, rich imagination, exquisite conception and musical language. Modern poetry can be divided into lyric poetry, narrative poetry and philosophical poetry in terms of expression. Different categories naturally have different forms and styles.

China's modern poetry is poetry since the May 4th Movement. China's modern poetry mainly refers to new style poetry. It is characterized by writing in vernacular language, expressing scientific and democratic new content of the times, breaking the shackles of old poetry and rhyme, and being flexible and free in form. Therefore, it is also a problem that we must pay attention to the format of antithesis and other

poems, except for writing by content or sentence, especially in language organization.

is mainly manifested in two aspects: one is the use of rhetoric; The first is to break the conventional combination. Flexible use of various rhetoric can enhance the vitality of poetry, and boldly breaking the conventional combination (that is, not matching according to grammatical requirements) can get unexpected results, but it should not be too excessive.

Rhetoric is an important skill in poetry. Including personification, metaphor, parallelism, rhetorical questions, repetition, thimble, duality, exaggeration, symbol and so on. It can be said that each expression technique has its own uniqueness. The use of metaphor can express the content of poetry more vividly and vividly. The use of xing can make readers understand the artistic conception of poetry from the beginning, making poetry more affectionate and lasting appeal;

The use of exaggeration, symbolism, synaesthesia and other techniques can inject fresh blood into poetry and make it more imaginative and affinity, without making people feel vague and obscure, so that readers can really understand the thoughts and feelings the author wants to express. Symbolism, on the other hand, is to express a special meaning with concrete things, which is the most commonly used technique in poetry.

For example, Bing Xin's Paper Boat symbolizes the yearning for his mother, and Feng Zhi's I am a small river symbolizes the pursuit of love. Usually we also like to use symbols, such as "plum blossom" to symbolize perseverance and "candle" to symbolize silent dedication. Wang Jiaxin's On the Other Side of the Mountain uses "sea" and "mountain" to symbolize "ideal" and "difficulties and setbacks in pursuing ideal".

There are two schools: Crescent School and Vague School

Crescent School is an important poetry school in the history of modern new poetry, which is generally divided into two periods with 1927 as the boundary. The early stage began in the spring of 1926, with the supplement of Beijing Morning Post? Poetry Engraving is the position, and its main members are Wen Yiduo, Xu Zhimo, Zhu Xiang, Rao Mengkan, Sun Dayu and Liu Mengwei.

They were dissatisfied with the style of "free poets" who ignored the poetic art after the May 4th Movement, advocated new metrical poetry, advocated "rational emotion control", and opposed promiscuity and the prosaic tendency of poetry, and made a serious exploration of the metrical style of new poetry from theory to practice. Wen Yiduo put forward the famous idea of "three beauties" in "The Metre of Poetry", namely "the beauty of music, painting and architecture".

Therefore, the Crescent School is also called the "New Metric Poetry School". The crescent school corrected the weakness that the early poetry creation was too informal, and also made the new poetry enter the period of conscious creation. In the spring of 1927, Hu Shi, Xu Zhimo, Wen Yiduo, Liang Shiqiu and others founded Crescent Bookstore, and in the following year, they founded Crescent Monthly. The main activities of the "Crescent School" moved to Shanghai, which was the late Crescent School.

Its main positions are Crescent Monthly and Poetry Magazine, which was founded in 193. Its new members include Chen Mengjia, Fang Weide and Bian Zhilin. In the later period, the Crescent School put forward the principles of "health" and "dignity", and persisted in the position of "pure poetry" which was super-utilitarian, self-expressive and aristocratic, and emphasized "purity in essence, thoroughness in technique and preciseness in meter". However, the artistic expression and lyricism of poetry were close to those of the modernist school.

The beauty of music in the "three beauties" means that every verse of crescent poetry is different, just like music. Architectural beauty means that the format of poetry is like architecture. The beauty of painting means that every section of crescent poetry is a picture that can be painted.

misty school of poetry: a school of poetry that appeared in the late 197s and early 198s. Its representatives are Beidao, Shuting, Gu Cheng, Jianghe and Yang Lian. As a creative group, "misty poetry" has not formed a unified organizational form, nor has it issued a declaration. However, it has formed a "rising poetry group" with its own independent artistic ideas and creative achievements.

There was a controversy about misty poetry in the literary world at that time. The spiritual connotation of "misty poetry" has three levels: first, exposing darkness and social criticism; second, seeking light in darkness, reflecting and exploring consciousness and strong heroism; third, paying special attention to "people" based on humanitarianism.

"misty poetry" rewrites the traditional mode of describing "reality" and graphic policies in the past, and regards poetry as an important way to explore life, which has reached an unprecedented height in philosophical significance. In a sense, the rise of "misty poetry" is also the rise of the life tree of China literature.