"Poetry" And New Poems In The 1920s

The topic of this paper was discussion about meaning of using of the word "poetry" ,and the development of vernacular poetry, which during when it was born and 1920s.The first part was carding the process of how to use the word "Poetry" in Ancient, with which varied meaning. And it was also reviewing the relationship of poetry and songs in Ancient, as well as the development and influence of the Poetry Revolution and School Songs Movement. Central part of the paper is to list and review the examples which "poetry" to be used in the period of New Literary, exploring the way of the most representative figures using the word and why, and the differences and similarities among those men.It was believed that there were four ways for using the word "Poetry"â‘ creating New Poems should be a natural process of improvisational expressing;â‘¡New Poems should be reference to the folk songs;â‘¢New Poems should be set to music ;â‘£the influence of translation of Japanese literature.The first three points lately were be discussed more details about their possibilities and the limitations combined with the historical facts.The way of improvisational expressing presented poetic feeling directly, which new aesthetic pattern was different from past absolutely. The poetry was sounded more musically.The Vernacular Poems in learning folk songs was finally failure in 1920s, because of vulgar slang in folk songs and not enough good folk-songs collections. The Vernacular Poems can't be set to music and sung, which might damaged the poem's meaning. The last part explored the practice to gain the internal musicality of Vernacular poems in the 1920s.The first is the "natural syllable", which advocated by Hu Shi; then discussed "internal rhythm", advocated by Guo Moruo. The last was the efforts from member of the Crescent School who try to achieve internal musicality of Vernacular poems by using some external forms. It's a curve among these development processes.It established a clear form getting internal musicality by the Crescent School's practice. But it may lead to a new classical system, which may be disrupted the process to build new rhythm and aesthetic system for Vernacular Poetry.