Reading guide
Around the May Fourth Movement, in authoritative publications such as New Youth and New Tide, it was common to see Yu Pingbo's essays and correspondence discussing and debating new poetry with Hu Shi, Zhou Zuoren, Wen Yiduo, Liang Shiqiu and others. Yu Pingbo's "Three Conditions for Vernacular Poetry" (1918), "Various Psychological Views on New Poetry in Society" (1919), "The Freedom and Universality of Poetry", "Cao'er Preface" (1920), "A Little Experience in Writing Poetry", "The Reductionism of the Evolution of Poetry", "Discussion on Popular Literature with Peixian" (1921), "Winter Night: Self-Introduction" (1922), "Reading "Destruction" (1923), "The New Law of Poetry" (1924), etc. They are all important new poetic works that have a great influence during the New Poetry Movement, which caused a shock in the poetry world.
Yu's new poetic theory extends the tentacles of thinking to almost all aspects of poetry. The starting point and end point of his poetic theory can be described in the words of the article "Various Psychological Views on New Poetry in Society", that is, "in order for new poetry to have a solid foundation, it is necessary to seek its development ...... first."The most important thing for us is to seek the progress of the new poetry itself." Specifically, the theory of Yu's ontology construction of new poetry mainly includes the following aspects:
1. On the rhyme of new poems. Looking at Yu's views on the phonology of new poems, in his own words, "I do not regard rhyme as the only element of poetry", but "I think that rhythm should have a place in poetry". As late as 1924, he declared in his "Poetry Rhythm" that he "will never oppose the condensation of poetry in its entirety" and that "it is "by no means a terrible thing if it does not hinder the vitality of our souls". In this article, he also discusses in detail why poems should have rhythm and the shortcomings of new poems without rhythm, and specifically lists five measures for making poetry.
2. The use of the language of new poetry. He said, "The difficulty of vernacular poetry is not in the white, but in the poem; We must remember that poetry in the vernacular is not just about speaking in the vernacular. At the same time, he advocated "restricting the borrowing of literary language", although "when making poetry, we borrow more literary language than prose, because the vernacular is too simple, and using it to make poetry is more unsuitable and insufficient than prose, and we are 'helpless' about that kind of natural defect."
3. On the content and form of the new poem. Yu has many insights into the new poetic form, but he is not a formalist. In fact, he mentioned many times that new poems "should increase their weight" rather than "quantity", and that making a poem has the "value" of a poem, which shows the importance he attaches to the quality of new poetry. "In the future, we will strive to make poems that are consistent with ism and art, and we will not care about the shell and lose our spirit", "We poets must not be satisfied with formal innovation; We must demand innovation on both the spiritual and the formal sides. Ism is the spirit of poetry, and art is the form of poetry" "New poetry cannot be put into the old soul." Fourth, on the utility of new poetry. The controversy between "art for life" and "art for art" is, in the final analysis, a question of the attribution of art. Yu Shi said in his early "Various Psychological Views on New Poetry in Society": "It is his only natural duty for a writer to honestly express his life, and he will never admit to this to blame." In his 1921 essay "The Reductionism of the Evolution of Poetry", he still insisted that "poetry is the expression of life, and it is also the manifestation of life for good", and also made it clear that "art is originally for the common people".
5. On the practice of new poetry. Specifically, it includes (1) the emphasis on words, sentences, and chapters. (2) Selection and harmony of materials. (3) Objectified description and subjective lyricism of new poetry. Yu Pingbo's idea of starting from the ontology of new poetry is obviously more constructive than that of some poets in the same period who only talk about new poetry with blind enthusiasm or harsh judgments. Studying this article will help us deepen our understanding of his poetic theory.
Various psychological views of new poetry in society
In recent days, the application of vernacular in society has slowly expanded, and people like Lin Shu also say that "science does not need ancient Chinese", and as for those who are a little more enlightened, they have no doubts about the application of vernacular Chinese. But when it comes to the status of vernacular literature in literature, there are many people who are skeptical, and now there are three kinds of works in the new literary and artistic covenant: drama and poetry. Drama can be done in the vernacular, almost everyone admits it, because the "Pi Huang" and "Qin Dialect" that are welcomed in the society are in the vernacular, and the "Dream of Red Mansions" and "Water Margin" that they like to watch are also in the vernacular. As for whether the old drama ** and the new drama ** are one thing or not, they don't ask; The reason why drama must be done in the vernacular, they don't know that they always feel that the ancients have it, and future generations can also learn it. There is also a layer of psychology, I feel that drama ** is vulgar and entertaining, so I can use the vernacular of "leading cars to sell pulp" to do As for one aspect of poetry, the psychology is different.
The more obstacles there are to the process of a revolutionary enterprise, the more tortuous the line becomes. China's drama without literature, a dead Kunqu opera and the few good ones, are outside, so there is a tendency to create a new one. As for poetry, it has long occupied an extremely important position in Chinese literature, and the works of thousands of years have been "full of sweat", and they are all literary works with neat syntax and serious rhyme. Today, some people suddenly want to replace their authentic literary language of "inheriting from teachers and teachers" with the vernacular that they have always regarded as "Mr. Cuoshen's unspeakable": on the one hand, they talk about the emancipation of poetry, and on the other hand, they want to make prose poems without rhyme, and on the other hand, they change the materials they use to describe all kinds of living conditions and mass movements in society, and on the other hand, they go on strikes and demonstrations, and so on. Naturally, they were shocked, and they said in a daze, "ridiculous" and "nonsense". We listened, and we weren't angry at all. Since the birth of the new poems, as far as what I have personally heard and my friends have heard from all walks of life criticism, there are fewer people who agree with the same sentiments and more people who are skeptical. I think that since this situation is in this situation, I would like to make a text, on the one hand, to explain the doubts of society, and on the other hand, to urge us to move forward, and now I will explain the psychology of each aspect separately.
Against the transformation of poetry.
The representatives of this faction are a group of "old people", "young people" and "famous people from the fighting side". They are most deeply influenced by classical literature, and their lives are inhuman, which makes the nerves **, and there is no correct thought at all; In addition, he received the eight-share education of winter drying in the past, and after reading a few ancient poems, he stole and imitated them, and he actually pretended to be "literary and colorful". What the poem says is nothing more than characters such as emperors, warriors, and prostitutes, and apart from these, they feel that there is no poetic interest. Not only do this group of people have a clear concept of true literature, but the old Chinese literature is also very shallow, and it is not surprising that they want to scold us. There is also a kind of "nationalist", whose knowledge of old literature is always much more abundant than that of the above-listed people; But their serious illness is always too heavy in the turban, and when it comes to poetry, they often have to ask for something like "the beginning of the king's transformation" and "the beauty of Renqi's customs and education" to frighten people, no matter how easy it is, it is just a few poems of "shaking sexuality" and "lamenting life experience". They can neither have a literary world view, nor can they gain a little knowledge of literary transformation from the history of literature, and with the psychology of contempt for the vernacular in the past, they naturally believe that there is no possibility or need to transform poetry.
Oppose the transformation of Chinese poetry.
This faction's attack on the new verse is no different from the original one mentioned above. However, their knowledge of foreign literature is more sufficient, and they have read several foreign poems, and they also know that poetry can be made in the vernacular; But they always refused to approve of the transformation of Chinese poetry. This is a bit strange, since they have already admitted that the vernacular can be used as poetry, and they want to oppose the new style of poetry, isn't it a contradiction! They prefer to say casually, "A country has its own special literature, and the near-style poetry since the Tang and Song dynasties is the most quintessential production of our country, so why bother to learn from foreigners!" This kind of statement is the tone of "middle school is for the body and Western learning is for use", and when it comes to it, there is always no round. I deduce that they still like antiques, but in addition to Chinese antiques, they just add foreign antiques. They have always believed in "classicism" and "romanticism" to be the authentic ones in the literary world, and they only think that they are tolerant of the "realism" and "symbolism" of modern times. We made vernacular poems with no rhyme, and this class of Chinese and foreign antiques was naturally very unhappy and was coming to teach us a lesson.
Oppose us to transform Chinese poetry.
This school of thought is not attacking new poetry, but attacking those who make new poetry, which can be ignored, but as long as poetry is discussed and personal relationships are not involved, it may as well be talked about here. They said, "Poetry can be made in the vernacular, and poetry should be made in the vernacular, not only with a new shell, but also with a new spirit; But none of you have the genius of poets, and it is absolutely impossible to take the liberty to transform Chinese poetry, like an excellent topic, which is ruined by 'Mr. Dong Yan', you look at the vernacular poems published in "New Youth" and "New Tide", which are neither Chinese nor Western, what is it like! "When I heard this, I felt that they were very clear and admirable; We should be grateful for our honest advice; But we never agree with their words, not that we are ashamed to say that we do have the genius of poets, and we admit that we are probably not; But although he is not a genius, there is not much harm in learning to make a few poems, and if there are really excellent new style poems, we are naturally willing to "change our path". The sun is out, and the fireflies are extinguished; The rooster crowed, and the night cat was silent; We are qualified to be firefly night cats, who can say that it is not enough! I think that genius has no certain standards, nor is it "born to know", we are modern people, and there is nothing wrong with making modern poetry, whether good or bad. As for who is a genius and who is not, it will be known in the future. Now, as long as everyone tries their best to move forward and do a part, we are not polite at all.
In favor. There are two schools of thought here: one is blind and the other is conscious. The level of knowledge of the opposition in the first and first categories is also much different. They don't know the true spirit and value of the new poem, but it's fashionable to see it; They use plain vernacular, don't talk about battles, don't rhyme, don't use classical, they talk nonsense, it seems easy; So I like him very much. This kind of psychology is really the same as that of the literati in the past, who liked to find ancient dictionaries to boast of their façade, which is exactly the same as the so-called "literati write their own shallow and ugly". This group of people is very hindered to the future development of new poetry, and they make random contributions, so that later, the society will naturally have a disgusting and contemptuous attitude towards new poetry, and it is difficult to predict the success of the socialization of new poetry. As for the conscious favorite, the opinions are clear, the knowledge is sufficient, and of course our best friends can help us.
There are four roughly divided floors on top, which I personally could have imagined for a while, but that's it. Three of the four kinds of people are opposed, and our new poems are not welcomed by the general society now, and they feel very shackled. I often say to myself, "Why can't new poetry be accommodated in society?" How can we make the foundation of the new poetry strong? ”
Let me answer the first question first, and there are three reasons to say.
First, the current Chinese vernacular is not an absolutely suitable tool for making poetry. It's easy to misunderstand what I'm saying, as if I don't really believe in vernacular poetry. Actually, I don't think that in the present situation, the vernacular is really the most suitable tool, and there is no better tool to be found; But on the one hand, I always feel the pain of writing poetry in today's vernacular. Although the vernacular is much more convenient than the literary language, there are still many shortcomings, so in fact, although the current vernacular is considered a very suitable tool, it is ideally not satisfied. It turns out that the current vernacular is degenerated from history, and from the Han to the Qing vernacular, it has long lost the qualification to produce literature. The existing vernacular shells are nothing more than words such as "this", "what", "sun", "moon", etc., and even the slightest noun about the philosophy of science must be "borrowed from other places", and the lack of cultivation of art is particularly obvious. Now in the new poems, it is natural that we can no longer fool around with those "fleshy words" and "split allusions". Although a few poems are very complete, there are also minor diseases, and Chinese society has always liked to "seek perfection and blame" and "find faults", and those who make new poems will inevitably become the target of public criticism.
Second, new poetry is still in its infancy, and it is not a perfect work. The above is the shortcomings of the tool, and here it is the clumsiness of the person who uses the tool. We should also know and admit this situation, but we should not be disappointed and give up. Although the new poems are very naïve now, they have great hope of growth, and although they are not perfect, they can strive to improve and make them perfect; We decided that this deficiency was temporary, that it was due, and that we could do our best to make up for it. So it's temporary? The changes in literature have the relationship between the world on the one hand and the historical influence on the other; In other words, it is governed by space and time. The transformation of Chinese poetry can take the new spirit of modern Western literature as circumstantial evidence, and can directly prove the traces of historical changes. In the future, the development of poetry must slowly move forward with this road, and these shortcomings will of course gradually be filled.
How should it be? The longevity of ancient Chinese poetry, which grows from budding to old age and death, is very long, but there are countless geniuses in the middle, extremely beautiful works, and clumsy instruments like dead texts, which they can also use very conveniently. The ancients suffered a little, and the descendants learned to be obedient, accumulating over time, so although the poetry style is very restrained and the poetry is very corrupt, they have made great progress in using tools and means. We are naturally not satisfied with ancient poetry now, but we are also very impressed by the ingenuity of art. For example, from the perspective of new poetry, although the vernacular has relatively convenient advantages, there are still many shortcomings, we boldly use the vernacular to make poems, like a child toddler, it is not a certain grasp of the works of dead language, can be taken by us ruthlessly, Western poetry, there are many places, because the gap between the East and the West language and thought is too far, pure European poetry, by no means for the general society to accommodate. When we reach this position, we have to rely on our own brainpower to fight against difficulties, and it is a bit difficult to think that immediacy and art have the same perfection, that is, the ultimate genius, and besides, which of us is a genius and who is not a genius, it is still a question. In all fairness, on the one hand, there is always no advance or retreat compared to the predecessors, and in art, naivety is undeniable and needless to say. Ancient poems have a history of thousands of years, and new poems have only been published for two years.
Third, today's society really does not have the capacity to accommodate new literature and art. The above two verses are all words of "self-reproach", but here they speak to the person who reads the poem. This sentence seems to be a bit contemptuous of society, but it is actually an honest sentence. I often think to myself that there are only three reasons for the unpopularity of new poetry, but what is the main reason? Come to think of it, this is still the main reason. Just think about what kind of life most people in China have? What kind of knowledge is literature? What kind of interest is it? The three layers of answers have been answered, and listening to my sentence above, of course, there will be no doubts. Because the life of today's society is very dark and miserable, but I like to "whitewash" and miss "happy songs", as if "family ugliness cannot be publicized". We made poems and showed his naked description, and when they saw it, they naturally felt a little sad, shook their heads and said, "Unbearable! Extremely! But this is their unbearable, not poets make up to laugh at them, it is his only natural responsibility for a writer to honestly express life. He would never admit to this imputation. When it comes to the knowledge of literature, regardless of the middle and lower classes, if we take the highest literati bachelors as an example, this stream of people is the so-called "seed of reading", and according to their literary knowledge, it is not surprising that they should oppose new poetry. Don't you believe them, what is literature? What is the role of literature? What kind of literature is poetry? These three questions should be able to be answered by people with literary knowledge, but they will never tell you happily, either "speechless", or quoting two broken sentences, not only the person who asked him does not understand, but even he himself is inexplicable. When such people read the new poems, they are naturally amazed, what hope do we have for them! When it comes to literary interest, it is simply unique in the world, because no other country can appreciate it. Chinese think that literature is the most interesting, on the one hand, in the word classical, on the other hand, in the syllable, on the surface it does not seem strange, helplessly like the word classical, is more than half separated, the favorite syllable, is mysterious. It is not surprising that the former kind of hobby is still the phenomenon of "classicism". When it comes to syllables, it is really "incredible", and I often see someone take a collection of essays or poems, babble hoarsely, and sing it again, the tune is very difficult to hear, much worse than the opera garden singing, and they think that "God and the ancient tour" "go beyond the elephant and get in the ring". As for the physical structure of literature, I have no way of knowing how much I can appreciate. In short, this kind of eccentricity is fundamentally different from the reading method of foreigners, and the new poetry is not popular, which is a big reason; Because the syntax, rhyme, and feet of the new poems are very free; It is absolutely not suitable for "brainstorming" and "generous and sad songs". So the society thinks that he is not a poem, I once heard someone read my poem and said, "This is about the right organ", this kind of mocking and scolding tone, about even the phrase "be prepared", refusing to agree.
Poetry is rejected by society, and drama is not very accommodating. From the outside, it is no longer a problem that the drama can be in the vernacular, so they are not very fashionable? Speaking of which, discovering a public place is the essence of new literature and art, and the hobbies of society, which cannot be reconciled. Look at Ibsen's play, which has no translation, and it wasn't until June last year that New Youth published an Ibsen issue that introduced him to China. The society saw it, and there were very few people who attracted attention and interest, and sure enough, the Eastern and Western languages were too far away, and the translation did not be able to convey the original meaning in twists and turns, but it did not cast the fashion of the Chinese, which is really the reason for the depression of the literary and artistic circles! Society, both take literature and art as a play, but it is just happy, we prefer to invite him to read literary works, how not to annoy people! In short, today's society not only does not accommodate the shell of new literature and art, but also does not accommodate his spirit, they feel that new poetry is not poetry, drama and ** is not literature, we must win their approval, we must greatly change our ideas. If we like to do literature that is consistent with ism and art, we are stupid and stupid, and we have to be fools!
The reason why the society did not welcome the new poetry is now understood, but the question of how to make the foundation of the new poetry strong is still in our chests. I would like to make a rough comment of my own opinion for you to take.
If you want new poetry to have a solid foundation, you must first seek its development; In order to develop in society, it is necessary to make great and perfect progress in the doctrine and art of new poetry, and then it can replace ancient poetry and occupy an important position in literature. As for social intolerance, it is not within our own responsibility. We only hope that their literary knowledge has improved, and they can look at the new literature and art calmly, and there is no other way. Our most important thing is to seek the progress of the new poetry itself; Hanging a banner of new literature and art, doing some childish works indiscriminately and perfunctory, this is really our great sin, dear friends! Don't let go of the great opportunity and don't forget the great responsibility!
My first opinion is that in the future, when we make poems, we should increase his weight, not increase his quantity, because it is very easy to make poems in the vernacular, on the surface, it is very easy, and it is not easy to use empty words to speak in the vernacular. But in reality, it is not true, it is not the opposite, and vernacular poetry is easy to do, all of which have not been tried in layman's terms. In my experience, the difficulty of vernacular poetry lies in his freedom. He is naked, without a fixed form, without a model in front of him, but he cannot be nonsense; If you really mess around, what will it become! Therefore, the difficulty of vernacular poetry is not in the vernacular, but in poetry; We must remember that poetry in the vernacular is not just about speaking in the vernacular. The difference between vernacular poetry and vernacular. There are things in the bones, but they are not very obvious on the surface; Because beauty is not fixed, natural syllables are not to be tested by machines. Vernacular poetry is a "law can't" thing, and as soon as everyone likes to do it in the future, the number will naturally increase, but it's a pity that vernacular poetry has dropped a word at the bottom. The society was originally looking for trouble over there, but if we give him "the truth", it will be difficult to be optimistic about the future!
What I am advocating is to increase the weight of the poem. Poems that are useless and destructive can be done as little as possible; Even if you do more, you may as well do it, but you should not pay for the monthly newspaper publication indiscriminately. I think that this method of limiting the number can preserve the "name" of vernacular poetry. As a result of increasing the weight, it is natural that making a poem will have the value of the poem, and the spiritual paper and ink will not be wasted, isn't it very economical? I have two ways to add weight.
Take more materials and use less materials. The lack of material can be called the bankruptcy of the poet, and the indiscriminate selection of materials can also damage the value of the poem. In the new poems, the main material is naturally about life, but there is also a need for choice. There is no way to talk about the specific example, about the most important fantasy, barely listening, and the best visual experience. It is really dangerous to use materials that are not really suitable for use at will! The writer of poetry should always prepare a lot of material, carefully select the results, and then use it; You should never eat something with an empty stomach and vomit it immediately. I have done this a lot, and now I know that it is very wrong, and I regret it very much.
Read more of the works of the ancients and less copy of them. Those who build houses have patterns, those who draw pictures have models, and those who make poems naturally have to find a teacher. Western poetry and ancient Chinese works that are close to vernacular, and we must read more about 1,300 ancient Yuefu poems and songs. This kind of poetry is a very refined work, we can learn a lot of good things, save a lot of things; But we want to create, not rely on people, to imitate everything, with the ancients without me. China's major problems in the past, we must always "overcorrect" and keep it in our hearts.
My second point is that in the future, we will strive to make poems that are consistent with ism and art, and we should not care about the shell and lose our spirit. This meaning is extremely important, and the difference between the new poems and the old poems is not only in the syllabic structure, but also in the spirits of the two. We poets must not be satisfied with formal innovations; We must demand innovation on both the spiritual and the formal sides. Ism is the spirit of poetry, and art is the form of poetry. The art of new poetry is indeed very important, but art is detached from ism, that is, empty, decorative, for people to be happy, intriguing, and exciting. Most of the ancient Chinese poems are works of pure art, and the great revolution of new poetry is based on the strong color of life. If we conform to society, with the attitude of a fool, gently give up our ideas and devote ourselves to art; Later, it was still the same as the ancient "advocating excellent literature" "half a catty to eight taels!" Isn't it a big joke that the much-touted literary and artistic innovation has only turned the literary language into a vernacular, and nothing has been changed in it?
New poetry must not be put into the old soul, as it has been said. Ideological innovation is all in the individual's own efforts, and there are no certain conditions, but the method of expressing thoughts, I can say that there are two kinds of faults, and it is easy to make poems. First, the most afraid of making poems is that the flat and direct narrative is not included. Using countless sentences to express a little simple and superficial meaning, the reader will know it at a glance, and then look at it and be surprised, this kind of "chewing wax" poem can be done less. The vernacular is a clear and fluent thing, no more than the literary language, you can pretend to be pretentious, and then use the tone of the pen, it will naturally be "clear at a glance" and have no aftertaste. Second, don't use vague and trance-like words to make your thoughts very general. This is the ** disease of Chinese poets, although it is the opposite of the above, but it has the same inappropriateness. You must know that if you use literary language to make poems, it is really easy to be confused; However, although the vernacular is better than the literary language, it is not absolutely impossible. For example, people who have been exposed to old literature are more likely to make this mistake unconsciously. The trance-like poems seem to be layered and interesting on the outside, but in fact they are still empty inside. The kind of poem mentioned above is still a vernacular work, which is simply a fake new product.
I have a few fragmentary opinions about art, which are my third level of offerings.
Focus on the description of the ground. The meaning of this article has already been briefly mentioned when I talked about the material earlier. Because of the lack of materials, the poet refuses to put down his pen or work hard to find it; So I borrowed some mystical ideas to construct a "pavilion in the sky" and used it to deal with it. New poets are so lazy and dishonest, it is rare to consolidate the foundation of poetry! I thought that it was necessary to write poetry in a realistic way, and the method of "taking it for granted" was not necessary at all. It is true that the on-the-spot description does not necessarily make a good poem, but it is much stronger than the utopian fantasy of "taking it for granted" but actually "not".
Use the blending of materials.
The poet has accumulated a lot of material, much of the same, and a person has a personal environment, and the material taken is generally biased to one side; When you use it, it's very difficult. For example, when people learned to make poetry in the past, it was either "sad spring", or "sad autumn", or "looking at flowers", or "drinking". We read a dozen of them and got a little annoyed, and then read the Sandman. If we do all the monotonous poems, don't we have to be comrades with the "poems" of the "Doufang faction"? This has to talk about the harmony of materials. The poet who is rich in material will not be monotonous; If there are not many materials, or only one or two kinds of materials, then the method of "moving and wrapping" is, of course, to be studied. The lack of material is inherently a great flaw, and to try to avoid monotonous works, only to look at a simple material from various aspects, then naturally a song has a special color, so that the reader will not be bored; But this approach is not easy to do.
The intricacies of the sentence Anzhang.
The monotonous chapter syntax is also very annoying. Grammar is not a good thing to apply to poetry. There are no grammar books in China, and there are no rules on the position of the subject and object predicates, so we can make use of them to make sentences very varied and lively. The same is true of the intricacies of the chapter. In the past, people talked about the "beginning and end" of articles, as if there was a prescribed format, and it is absurd. It seems to us that the position before and after the sentence of the paragraph is really not certain; And the poem always has to be layered with words, and it is enough to go straight and make a prose, and good prose is not like this. The purpose of the change of chapter syntax is always to attract people's attention and arouse people's interest. The specific application can only be said at the time of the article, and there is no way to talk about it here.
Restricting the borrowing of literary language.
Borrowing classical Chinese is a last resort, and there are many deficiencies in the current vernacular, so we have to borrow classical Chinese to make up for it, and we don't like the monster of combining literary language. When making poems, I borrow more literary language than prose, because the vernacular is too qualitative to use him to make poems, and there are more places that are not suitable and insufficient than prose. That kind of natural defect, we are also "helpless"! But we must not forget that the language is borrowed, and if we can use it less, we will use it less; It's better not to have it. We have thousands of years of habit of writing poetry in literary language, and we often borrow it as "anti-guest-oriented"; That would be contrary to our doctrine, not only forgetting the spirit of the new poem, but also not keeping his shell. I am also a little skeptical that this kind of "non-three, not four" work will replace the old literature and art. We always hold a proposition, and strive to break through difficulties, success and failure, another is a problem!
I'm done with this, I'm not very good at writing poetry myself, and I haven't studied Western poetry, so I shouldn't be talking nonsense. When it comes to the psychological aspect of the society's perception of new poetry, it is only when I get my own meaning that I take up a few pieces of paper. Those who want to read this book have nothing that they do not already know about this kind of shallow words; But to be the "memory bead" in your mind, thinking about it doesn't hinder it.
Originally published in New Wave, Vol. No. 1, YYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYYY