Who knows the representative works of the Nine-leaf Poetry School poet?

(Chinese New Poetry School) is a poetry school with modernist tendencies in the late Anti-Japanese War and the War of Liberation. The main members include Xin Di, Mu Dan, Chen Jinrong, Du Yunxie and other nine people. The main publications include "Poetry Creation" and "Chinese New Poetry". They emphasize the unity of reflecting reality and exploring the heart. The poems have a broad vision and a strong sense of the times, history and realistic spirit. In art, they consciously pursued the combination of realism and modernism, and focused on creating novel and unique images and realms in poetry. They inherited the modernist tradition of Chinese new poetry and contributed to the development of new poetry. The nine poets are Cao Xinzhi (Hang Yohe), Xin Di (Wang Xindi), Chen Jinrong, Zheng Min, Tang Qi, Tang Shi, Du Yunxie, Mu Dan and Yuan Kejia. They published "The Collection of Nine Leaves" in 1981, so they were called the Nine-Leaf Poets.

Nine-leaf Poetry School (1938-1948) The formation of the poetry group: Southwest Associated University period (1938-1946) July 29, 1937, Peking fell, and August 28, 1937, the Ministry of Education designated Peking University, Tsinghua University, and Nankai University to be established in Changsha Provisional University Preparatory Committee. 1937-9-10, the Ministry of Education announced that Peking University, Tsinghua University, Nankai University, and Academia Sinica would form the National Changsha Provisional University. 1938-1-19, the National Government approved the relocation of Changsha Provisional University to Kunming. 1938-4- 2. The Ministry of Education ordered Changsha Temporary University to be renamed as National Southwest Associated University. The poets among the Lianda University teachers were: Wen Yiduo, Li Guangtian, Zhu Ziqing. Department of Foreign Languages: Bian Zhilin, Feng Zhi. Wen Yiduo began to change literary concepts at Lianda, from aestheticism to aestheticism. Emphasizing the social significance of poetry. In "Poetry and the Times" he said: "I should put forward the emphasis on the social value of poetry... Poetry breathes the same breath as the times." Feng Zhi wrote "Modern Poetry Notes" when editing and selecting "Modern Poetry Notes" "Sonline Collection" (May 1942, published by Guilin Mingri Society), influenced by the master of symbolism and existentialist pioneer Rilke, "the pursuit of invisible things", the questioning of death, and the rejection of modern civilization. Rebuke and protest, yearning for the ideal state of primitive simplicity and tranquility. Bian Zhilin, published "Ten Years of Poetry" in May 1942, Guilin Mingri Society published Li Guangtian, "The Art of Poetry", in December 1944, the Kaiming Bookstore and the United Nations invited British modern Yan Bu Sun, a poet and New Criticism theorist, offered the course "Contemporary British Poetry". He came to China in 1937 and served as a professor of the Department of Spanish at Peking University. He later moved to Kunming with Peking University and returned to the League of Nations in 1940. Poetry activities among students of the League of Nations Literary societies of the League of Nations: 1940-1941, "Hollywood Literary Society", Du Yunxie, Wang Zengqi, Lin Luanyuan, etc. Wenju Society. Student poets of Lianda University "Three Stars" of Lianda University: Mu Dan (Department of Foreign Languages), Zheng Min (Department of Philosophy), Du Yunxie (Department of Foreign Languages) Department) Yuan Kejia of the Tang Qi Department of History, Department of Foreign Languages, "Poetry Creation" Period (1947,7-1948,10) "Poetry Creation" was founded by young poets such as Hang Yohe, Lin Hong, and published in July 1947, Shanghai Xingqun Published by the publishing house, it was closed down by the Kuomintang government in October 1948 and published 16 issues. In the first stage, an inclusive editorial purpose was adopted. There was a large lineup of poets, with more than 170 authors scattered across the country, which had a great impact. "The first issue" ·Editor Yu Xiaoji": "Today, in this countercurrent day, the realization of peace and democracy is what everyone urgently needs to strive for. Therefore, we believe that: in the creation of poetry, as long as the big goal is consistent, no matter what It expresses the feelings of intellectuals and the working people, and we all value them equally." In the first half of 1948, the founders had differences over the purpose and principles of the journal, and Hang Yohe decided to quit and founded "New Chinese Poetry". "Poetry Creation" established an editorial board composed of Lin Hong, Kang Ding, Shen Ming, and Fang Pingping. Both Lin Hong and Zang Kejia believed that more works with a strong fighting spirit and close relevance to people's lives should be published, and they opposed Western modernism that was divorced from reality, obscure and mysterious. works; Hang Yohe advocated paying attention to artistic conception and tone, making more explorations in poetic art, and opposing slogan-style empty works. In the second stage (July-October 1948), the editorial board "Starting Point" said: "In the past, the selection of manuscripts was miscellaneous." "Starting from this collection, we must use the maximum space to publish works that strongly reflect reality, and breathe together with the pain and joy of the people. Our requirements for art are: Bright, simple, healthy and powerful poems need to be real and realistic poems that start from the real feelings of life. They do not need to be just personal sentimental and decadent works, or things that are pretentious and mysterious. We advocate simple explanations that can be accepted by ordinary readers. We must improve the terminology and form on the basis of popularization, and popularize it under the guidance of improvement." "New Chinese Poetry" period (1948, June-1948, 10) "New Chinese Poetry" was founded in June 1948 and published by Xingqun Publishing House. After only 5 issues were published, the publishing house was closed down. Hang Yohe, Xin Di, Fang Jing, Chen Jingrong, Tang Qi, Tang were the backbone of the editorial board of "New Chinese Poetry": the three stars of the Northern Lianda University: Mu Dan, Zheng Min, Du Yunxie The core of Yuan Kejia's "Poetry Creation": Chen Jingrong, Tang Qi, Tang Shi, Xin Di named "Nine Leaves". In 1980, Yuan Kejia, Zheng Min, Chen Jingrong and Hang Yohe from Beijing compiled and selected "Nine Leaves Collection" in Jiangsu in 1981. People's Publishing House published the Nine-leaf Poet - Mu Dan Mu Dan (1918-1977) was born in Tianjin on February 24, 1918. His ancestral home was Haining, Zhejiang, and his original name was Zha Liangzheng.192

In 1999, he was admitted to Nankai Middle School and started literary creation. In 1935, he was admitted to Tsinghua University. After graduation in 1940, he stayed at the school to teach. In 1942, he joined the Chinese Expeditionary Army and went to the anti-Japanese front line in Myanmar and served as a translator. In 1945, he published his first collection of poems, "Expedition Team" ". In 1948, he went to the United States to study English and American literature at the University of Chicago. He received a master's degree in 1951. He returned to China in 1953 and became a professor in the Department of Foreign Languages ??at Nankai University. He translated and published poetry collections by Pushkin and Shelley. In 1958, he was unfairly treated and was forced to stop teaching. , was transferred to the library. Died of illness in Tianjin on February 26, 1977. The unjust case in 1979 was vindicated. Published poetry collections: Expedition January 45, Kunming Wenju Society Mu Dan's Poetry Collection May 47, Shenyang (self-printed) February 1948, Selected Poems of Mu Dan by Shanghai Cultural Life Publishing House, February 1986, Complete Works of Mu Dan's Poems by People's Literature Publishing House, 1996, Temptation of Snakes (Collection of Poems and Essays) by China Literature Publishing House, April 1997, Mu Dan Publishing House, Zhuhai Dan's poems are a combination of depth of emotion, breadth of sensitivity, and fullness of expression, with the flavor of Eliot's "The Waste Land". The shortcomings are that some sentences are slightly lengthy and cumbersome, and some of the rich emotions seem mixed. Jiuye Ai Qing's evaluation of the artistic style of the Poetry School can be summarized: "It accepted the realist tradition of new poetry and adopted the expression techniques of European and American modernists to depict the social phenomena after the war and turmoil." Modernist expression techniques 1 Indirect expression Form: image/symbol/metaphor Objectivity of the lyrical style: ideological consciousness, strong concern for the fate of the nation and the people (praise) - Mu Dan's endless stories are endless disasters, silence is love, and love is in the world The eagles flying in the sky are with dry eyes looking forward to the spring of tears, when the unshakable gray ranks crawl in the distant sky; I have too many words, too long feelings, I want to use the desolate desert and the bumpy path , mule cart, I want to use the trough boat, the wild flowers in the mountains, the rainy weather, I want to embrace you with everything, you, the people I see everywhere, the people living in shame, the rickety people, I want to bring you Bloody hands embrace you one by one. Because a nation has risen. The strong concern for the fate of the nation and the people is inspired by Hang Yohe. We are often lost in our own small world. If we pick up a shell or catch a caterpillar, we will all It brings about a burst of joy. It seems that the world already belongs to oneself, but oneself is trapped and guarded by a haze, - turn over, jump over, in the palm of a hand. Today, we will not sigh easily anymore - of a flower Withering, the incompleteness of the moon; the fall of a star, the cracking of an eggshell, all foreshadow for us what is to come. Some of the sorrows point us to the road ahead. Because of the changes in their lives, they have filled in the gaps. The rugged ups and downs lead us to a new world - the world outside our own world. When we think about the meaning of life in the era and history, we hope that we can have a hope and then suffer humiliation, pain, struggle and death. Because in our bright blood flows bravery, but in the heart of bravery: we hope that we can have a hope, it says: I am not beautiful, but I will no longer deceive because we see so many dead people's eyes in our The flames of tears shine in despair. _ When years of suffering end with a silent death, all we expect is a promise, but only in emptiness do we know that we are still just the ancestors of mankind before the arrival of happiness, _ We still have to live in the nameless world. A new point is opened up in the darkness, but in this starting point there are many years of shame accumulated: the cold stings the bones of the dead, it will destroy our lives, we only hope to have a hope as revenge. Elevate life experience and experience into philosophy Meditations on "Tree" by Zheng Min I have never truly felt tranquility as deep as I felt from the posture of the tree. No matter from which thought I woke up, my eyes met him standing in the same posture in its arms. The stars shift under its gaze, the stream flows away, and the birds come and go in its chest. But it always prays and meditates like the golden rice sheaves growing on the land of eternal tranquility. Zheng Min's golden rice sheaves stand in the mowed fields. In the autumn fields in autumn, I think of countless tired mothers. On the road at dusk, I see that wrinkled beautiful face. The full moon of harvest day is on the top of the towering trees in the twilight. No sculpture can compare to the distant mountains surrounding our hearts. Even more silent, carrying that great tiredness on your shoulders, you bow your heads and meditate in silence in this autumn field that stretches far away. Silence. History is just a small river flowing under your feet, and you

We, standing there, will become an idea of ??mankind." Yuan Kejia's advocacy of "modernization of new poetry" was published in Tianjin's Ta Kung Pao Weekly Literature and Art on March 30, 1947. "Modernization of New Poetry—The Quest for New Tradition" The Concept of Modern Poetry—Modern Poetry It shows a highly comprehensive nature: strong self-awareness with equally strong social consciousness, the combination of realistic description and religious sentiment, the penetration of tradition and the present, the effective activation of "big memory", the indistinguishability of abstract thinking and keen feeling. , the foil of relaxed and serious factors. That is, modern poetry is a new synthesis of reality, symbolism, and metaphysics. The modern lyrical method of traditional new poetry 1, _ The suggestiveness or indirectness of language expression. ("Ta Kung Pao·" on May 18, 1947 Weekly Literature and Art") uses concrete things that are equivalent to thoughts and feelings instead of direct explanations that appear to be frank and concealed. The special construction rules of image metaphors (very disgusted with the empty and vague romantic image metaphors, thinking that only by discovering the superficial irrelevant and essential Only images or metaphors of similar things can express themselves accurately, faithfully, and effectively; the images generated based on this principle are surprisingly bizarre, fresh, and surprisingly accurate and rich) The structure of the entire poem is arranged through imaginative logic ( The predecessors used multi-conceptual logic to judge its development from the most obvious prose meaning in the poem. Modern poets believe that only the logic of the evolution of poetic sentiment through continuous imagery is the standard for criticizing the structure of a poem. Under the guidance of imaginative logic, assembly Various experiences that are different on the surface but may actually produce a synergistic effect make the meaning of the poem expand, deepen, and gain weight.) The elasticity and resilience gained by the new use of words, the modern lyrical method of new poetry 2, and the dramatization of new poetry (6, 48 (Monthly "Poetry Creation" Issue 12) How to transform will and emotion into poetic experience, that is, try to express them dramatically, and avoid the bad tendency of preaching or sentimentality. Try to avoid straightforward positive statements and use equivalent external things Relying on the author's will and emotion: The first principle of dramatic effect is objectivity and indirectness in performance. Dramatization has at least three different directions. One is represented by Rilke, who combines the results of searching his own heart with the external world. The essence of things (moving and static) is blended together and expressed in poetry. At first glance, there is absolutely no Rilke himself in the poem, but in fact it expresses the soul of the most complete poet. The second is represented by Auden. Psychological understanding puts the objects of poetry on paper, and uses wit, intelligence, and the special ability to use words to write them vividly. The poet's sympathy, disgust, hatred, and irony for the objects are only partially expressed through tone and metaphor. , and never reveal it. Third, simply write poetry and drama. No matter which direction you want to dramatize poetry, the superstition that poetry is only an expression of passion must be broken. No theory is more harmful to poetry than letting emotions go, no matter what your intention is. In the explanation of will or the expression of enthusiasm, regardless of whether the object of your accusation is an individual or a collective, you must integrate the elements of thought and transform your own experience from the depth and essence of things. Otherwise, even if you keep a straight face or beat your chest, It is difficult to arouse the response of poetry. Mu Dan's promotion of "new lyricism" ("Collection of Condolence Letters - Starting from "Yumu Collection"", "Ta Kung Pao" (Hong Kong Edition), April 28, 1940) In order to express social or Individuals generally turn towards the bright side under the certain development of history. In order to make poetry and this era a great emotional harmony, we need "new lyricism". This new lyricism should be rational and inspiring. People strive for that bright thing. I focus on the word "rationally" because in our poetry world today, there are too many passionate poems that have no basis in the depths of reason and seem to be motivated only by The author's momentary hysteria will not only fail to arouse excitement among readers, but will make ordinary people feel that the poet's reflection on things is contrary to them after all. "New lyricism", when I say this, I The poet Ai Qing comes to mind. "The Trumpeter" is a better representative. In this poem, we can feel the healthy blend of emotions and images. Strong rhythm, grand rhythm, cheerful tune, - new life China is like this, and "new" lyricism should naturally be like this. The contribution of the Nine-leaf School of Poetry. The Crescent School poetry and modern poetry of the 1930s were mostly limited to personal inspiration, represented by the Chinese Poetry Society and the July Poetry School. The agitative and political poetry does not have enough experience of the complex and specific feelings of life. Jiuye poetry explores the combination of life, the reality of the times, and art, forming a synthesis or balance, that is, "not letting art escape reality." , and don’t let reality kill art,".