Two Deviations From The Chinese Poetic Tradition And Its Improvement In The 20th Century

Traditional "on content" ignoring the artistic form resulted in the theoretical tendency, but the modern literature theory's technology-difficult situation is that any form rule couldn't explain the works' mental world. Although poetry couldn't have a solution that holds good for all time only depending on one effective rule, basing on language's Subjective Objective duality, we could advance a more scientific and cognitive model, which could not only admit the works' outer function and purpose, but also its inner form-seeking, and finally concern about the works' entirety.The achievement and failure of Chinese new poetry is clearly discernible in such cognitive model. The development of free form and connotation of poetry in the 1990's is a good example.Unconsciousness of form is an important reason resulting in rhythmical poetry's decline. It is historically reasonable that new poetry took its place. From the perspective of form development history of new poetry, neitheruniform nor extreme freedom is practicable. Thus attaching great importance to rhyme scheme is a practicable way.In the 1990's, people's criterion on values and behavior model have taken great changes. The pure poetry's variation formed an alliance with the trend of post-modernism thought in the field of poetry. Some poets cleared up "holy" and "lofty", who tried to describe some trivial and incisive matters, especially the sense of sex. At the same time, the method of oral description was overflowing.They who could express poetry spirits and obey the poetic principle are the "middle-generation" poets. They questioned closely about the ultimate question, such as what life is, This group of poets protected humanitarianism, and their poetry is full of strong flavor of life and quality of spirit.Viewing on the whole present feature of Chinese new poetry in the 20th century, it is easy to find out the partial resulted from the departure of content and form, and the success resulted from combination of content and form is also obvious. It must be Chinese new poetry's correct way to mix content and form together by the aesthetic means.