[Masterpiece] Zhao Yishan: Nationality, era, and popularization -the direction of the development of future poetry development

About the Author

Zhao Yishan, a doctor of literature, an outstanding professor and doctoral supervisor of Sichuan Normal University, also served as the vice chairman of the Chinese Yun Literature Society, the chairman of the China Sanqu Research Association, the librarian of the Sichuan Provincial CPPCC Literature and History Research Museum. Special professor, Sichuan Provincial Teaching Teacher, Special Allowance Expert of the State Council. Former dean of Xihua Normal University, part -time professor, and doctoral supervisor of Beijing Normal University. It mainly studies Yuan Ming and Qing dynasties and Chinese lyrics. He has successively presided over 4 national social science projects including "Yuan Sanqu Research", "Research on the Ming and Qing Dynasties", "Research on the Parasitic Song of the Ming Dynasty Novels", and "Parasitic Songs of all -Ming Novels". Currently, he currently presides over the national major project "Ancient Sanqu Integration". He has published more than 100 academic papers in "Chinese Social Sciences", "Literature and Art Research", "Literature Review", and authored "Yuan Sanqu Tong" and "History of Ming and Qing Sanqu" (have been selected as the second batch of national social science library 10 outstanding achievements ) Equal monographs and more than 20 kinds of monographs and "History of Chinese Division of Literature", "Complete Words of all Novels" and so on. There are poems, words, songs, and Fuhe collections, "Ding Zhai Rhymes and Exchange Comments".

Summary

The ancient Chinese song poems have changed repeatedly, and the poems have changed again, but the tradition of the unity of songs and poetry has never broken. After the Han and Wei Music House, Tang poetry, Song Ci, and Yuan Qu have also been together with the songs and poems, so that the tradition of Chinese songs and poems can be continued. Since modern times, due to the lack of the style of the poetry, the poet has left Lege, the musician abandon the poet, and the poetry has left the public. Even if there is a talented talent, the big heart, the big vision and the atmospheric people discovered and touched by the great poets, the beauty and ugliness, evil and sadness, sadness and joy of the world in the world Give the public, the people lose the infection and pursuit of elegant poetry art, and instead addicted to the "mother cannon" and the voices of the permanent voice, and eventually fell into the low -level vulgarity of beauty and ugliness, Yan Mo discerned. It is very unfortunate to lack the aesthetic nation and era of poetry! Throughout the current poetry of the poetry of the song poetry, the new poems have long lost their national characteristics. The current rejuvenation of traditional poetry is just a retro frenzy for the debts of the predecessors. The road to the combination of poetry and music is to create a "fourth largest poetic style" with nationality, times and popularization on the basis of inheriting tradition and integration. It is the inconsistent responsibility and responsibility of contemporary poets.

Key words:

Contemporary new poetry, traditional poetry and poetry contemporary poetry fourth poetry

Mr. Wen Yiduo talked about Tang poetry at the Southwest United University that year. He once said: "The average person talks about Tang poetry, but I want to talk about" Poetry Tang ", 'Poetry Tang', and the Tang Dynasty of Poetry!" Literature ") Indeed, Datang was a poetic dynasty. If there is no poem in the Tang Dynasty, if there are no superstars such as Li Bai and Du Fu, the Tang Dynasty will be sad in the historical memory of the Chinese people in the cultural starry sky of the Tang Dynasty! Not only did the Tang Dynasty, the entire Chinese nation's development for thousands of years, why did they leave poems! The great nation produces great poets, great poets, created great poems, great poems, and nurtured generations of generations to grow, and participated in the shape of national character and inherit national culture in the subtle way.

From ancient times to the present, a generation has a singer of a generation, and a generation has a poem that a generation likes. Among the long river of historical and culture, "poems" and "songs" are always closely integrated, and they can always spread widely at the popular culture level. Tang Poetry, Song Ci, and Yuan Song are the close combination of "poems" and "songs" and a model of wide spread among the public. Therefore, Chinese classical poetry becomes a classic paradigm, which is the three in style of poetry, words, and songs, and and songs, and also, and songs, and songs. Eventually, the "song", known as the "Da Yuan Lefang", ended the development of Chinese classical poetry. Although later there were "small songs", which was proclaimed by the Ming Dynasty as "I am a must", once became popular. Today I read the "silly handsome horns, my brother, and the two yellow mud. You, pinch a child. The pinching seems to be alive, and the pinch is lying on the bed. Scroll the mud man, the water is overwhelmed, and then pinch a child, and pinch a child. Sister, my sister also has a brother "(South [Double Tune · Sunan Zhi]), such as, is still a playful and vivid small song, which is still full of style! However, the Ming and Qing dynasties failed to "song" and became another new style of poetry. In addition, with the "new poem" of the "May 4th" new culture movement, although it has been popular for a century, so far, it has not won widespread recognition and active participation in the people. Why did the Ming and Qing dynasties and modern and contemporary poems have not become the "fourth largest poetry style" that emerged after the poems, words, and songs? Where is the development of Chinese poetry in the future?

Before talking about these issues, it is necessary to say "the fourth largest poetic style." This method was the earliest began in the famous poet, Mr. Ding Mang. Ding Lao's proposal was accompanied by his creative proposition with his "free song". Ding Lao has proposed in the theoretical thinking of new poems and traditional poems, words, words, and songs, and then compared with ancient and modern times, and then proposed in the ancient and modern comparison. The purpose is to hope that through the transition of the scattered song on the basis of the ancient and modern integration, to create a new poem that is popular like Tang poetry, Song Ci, and Yuanqu, which can accept and actively participate in the public. It spares no effort to promote the creation of "free songs" on the basis of inheriting the popular and natural style of ancient scattered songs, and its wish is here. He also believes that the "free song" is just a temporary name. After the ideal new poetic style is established, there should be a new name with more characteristics of the times. This is the general origin of the concept of "the fourth largest poetry". This is the beautiful wish of an old poet with 80 years of poetry creation and still paying attention to the development of the poetry world. It represents the poet's longing for the future and shows the moral responsibility and national cultural feelings as a singer. Do not forget the past. The teacher in the future discusses the reasons why the Ming and Qing Dynasties and the new and contemporary poems have not become the "fourth largest poetry style". It should help inherit the creation of the contemporary poetry style of contemporary poetry in the current contemporary style.

The Ming and Qing Dynasties failed to become the "fourth largest poetry" in China. Of course, the reasons were many, but I thought it was mainly the following points: First, the development of Xiaoqu lacks the norms and guidance of literati. In the Ming Dynasty, popular literature such as opera, novels, and song arts had a great differentiation of literati talents. In the Qing Dynasty, which was comprehensive and retro in literature, the revival of traditional poetry, literature, and words was also attractive to literati. The traditional concept of Chongya and Vulgar, so the degree of participation in Xiaoqu is far less wide than that of scholars from previous generations to participate in Tang poetry, Song Ci, and Yuanqu. As a result, Xiaoqu lacks the norms and guidance of literati, and can only stay in the folk self -destruction. Second, from the perspective of poetry, in addition to the elegance of poetry and the euphemism of words, there is a popular integration of songs, and it is basically complete. In addition There is no fundamental transformation, so it is difficult to evolve the inherent motivation of another new body. The superposition of the above two reasons made the Ming and Qing dynasties fail to form another new style of poetry after all, and had to end the development of classical poetry.

For modern and contemporary poems that failed to become the "fourth largest poetry style", I thought that the main reason was: First of all, the new poems were launched by cultural people from the beginning, without public participation, and therefore lacked a wide range of mass foundations. Secondly, the development of new poems, in the second and third -generation poets, generally missed the direction, that is, comprehensively disconnected from the constituent genes of traditional poetry style, such as Pingzhang, Yin Yun, and Step Festival. The new poem has lost the most basic national characteristics of Chinese poetry, especially the mainstream new poems, which basically become a small prose written by a section of branch. As a result, traditional poetry style and contemporary poems have separated each other, which is difficult to complement each other and form a joint force. Thirdly, after the rhyme and beauty of the new poem from the national language of the poetry, it is further disconnected from music, and it is difficult to combine with singing to enter the vision of popular culture. Looking back at the formation of the three classic poetry paradigms of ancient poetry, words, and songs, all of them were formed in the public singing of poetry and music, and all of them were shaped in the blending of popularity and literati participation. After leaving the public's love and the widespread participation of literati, a classic poetry style that accommodates the spirit of the times and can be passed on the era of the times is difficult to produce. The failure of the Ming and Qing dynasties and the new and contemporary poems constitute an example of two aspects.

Although modern poems and traditional poems, words, and songs, there are still people who like to create at the moment, but most of them can only spread among their relatively fixed cultural crowds. At most, they can use the spread of new media such as television, the Internet, and WeChat to their respective respective media. Part of the readers, but they are far from being generally accepted and loved by people from all walks of life in the whole society. From this perspective, it does consume a considerable part of the talents of high -level poetry authors. If the social impact of a popular song of a second and third -rate song is difficult to achieve, isn't this a very regrettable thing? Of course, if the poet stands at the narrow self -standing position of a cultural person who stands in a certain poetic style, with his own favorite and familiar poetic lyrical freehand, reflects society, shows life, releases talents, and sublimates himself. The entire poetry seems to be " "Flowers are blooming", why do you have to pursue a so -called "fourth largest poetic style" that the public and poets can participate extensively? This is because there is no such poetry that is ethnic and era, and is willing to accept and participate in spreading. Carry out the medium of timely and emotional exchanges, and the beauty and ugliness, evil and sadness, joy and sorrow, sorrow and sadness of the world with the great poets and compassion of the world with great poets and people are discovered and touched by the great poets It is difficult to transmit to the public in a timely manner with the beauty of poeticization, so that the public knows what it knows, feels and happy, and feels the same, and it is difficult for poets to influence the public in time and become the singers of the times. Award the poet's talent, heart, and insight in time, so as to be infected and enlightened by poetry art. The educational infection function of poetry naturally eliminates it. Responsibility is naturally lost. The poets and poems are eventually exiled by self -cultivation and loneliness beyond the influence of popular culture and art aesthetics. The such such is the low -level vulgarity of beauty and ugliness and Yan Mo. Faced with the comprehensive recovery of the current ancient poetry and poetry, people may think that the organization of poetry creation has already spread throughout the country; papermakes published by ancient poetry poems can be described as hedgehogs. ; Chinese poetry, isn't it already very prosperous! However, in addition to a small number of people in these poems, in addition to getting attention in their small circles, if you want to ask several poems, several poets have infected the people and influenced society? I'm afraid it's hard to say. To be honest, most of the poems and excellent poets that can be known as masterpieces and excellent poets in the small circle. Essence In this way, if you stand on the standpoint of the national popular culture, what is the poetry writer?

Throughout the past century, the long -lasting poems and new poems have been carried out with the fierce turbulence of national culture. Instead of the competition of the two poems, it is rather the impact of current affairs and political changes. Between poetry and style of poetry, between the poetry poets, almost never matched the world. For a long time, those who write new poets, or think that they have represented progress and future, and do not consider the ancient body as stubborn and decaying. Even if it is good, but at least it is not optimistic about the ancient body; In the tradition of national poetry, the bones did not take the new poems seriously, and even faced the new poems written by the majority without rhyme, and have always held a negative attitude. Therefore, between the two, they have always written each article, each friend, and each say each other. Although the chickens and dogs have heard each other, they are almost old and dead. This is probably the eternal wonders that have never been between the old and new poetry in Chinese poetry since Poetry Sao! The essential problem behind this phenomenon is: the poet does not have the consensus of what is "poetry", and has not standing from the standpoint of national culture. He has a deep communication and dialogue about poetry and art. Therefore, the gaps and barriers between each other. Naturally, it is difficult to cross and break.

If you want to feel and experience from my own feelings and experience, although the new and old poetry styles have their own camps, they are actually moving forward from the orbit of the public. The degree of self -entertainment is the difference between the size of the circle, and there is no difference between the essence of the public. At present, the circle of new poems has become narrow, and social influence is getting smaller and smaller, and its micro -trends are difficult to reverse. This is an indisputable fact. The new poet has already lost the "original heart" that can replace the ancient body. It's right. When the new poems are declining, the nourishment of the millennium root system that has been tied to the fertile soil of Chinese culture seems to be rejuvenating new vitality, and it is gathering and brewing forces. Is the prospect of infinite light and a better future? Actually it is really not necessarily. In fact, no matter how the authors of ancient poetry and poetry work hard and how to improve their poetic cultivation, no matter how they write the poems more like Tang poetry than the Tang poetry after getting rid of the "old dry body", or to write the words than the Song people It is still like Song Ci, or it is more like a Yuan song than the Yuan people, so what about it? In my opinion, that is just a collective retro frenzy that predecessors owed debt and future generations! It's just that more and more circles are more than the authors of new poems. However, if there is no new poetic style that was born in accordance with the times, then it is impossible for this era to take a new foundation in the history of eternal poetry to pass on history and nourish the future. The profound and long -lasting influence is at least impossible to have poetry poems that can be compared with Tang poetry, Song poetry, and Yuan song. It is impossible to leave deep cultural marks in the cultural memories of descendants. For example, such as Yuan Poetry, the preservation of nearly 140,000 people so far, almost three times the Tang poetry. However, in addition to some scholars studying classical poetry, our poetry enthusiasts and poetry writers today. How many people can think of Yuan poetry in the classic poetry style of poetry, and do they have to learn from Yuan Poems? Why did the Yuanqu (including the drama set) of about 5,000 (including) replaced the representative of the Yuan Dynasty literature by 140,000, and won the permanent respect and imitation of future generations? The fundamental reason is that in the Yuan Dynasty, only one of the "songs" won the extensive love and active participation of the people, and became a new poem with a strong age with the public participation and the scholarship with both the public participation and the common public participation. Therefore, the new "song" of the new life is labeled with "Yuan", which has become a historic representative new poem with the characteristics of the times. However, from the perspective of poetic innovation, isn't ancient poetry not written? no. Because of historical reasons, at least two generations owed debts. What debts do you owe? The debt of the excellent tradition of inheriting the classic poetry of the nation. At least two generations of people have not inherited the tradition well whether they write ancient or new poems. The second and third generations of writing new poets have almost completely abandoned the tradition, so there is no need to say. Even those who write ancient bodies, at least two generations, in the age of Li Bai, Du Fu, Su Shi, Xin Qiji, Guan Hanqing, and Ma Zhiyuan, the target of the law is only dozens of leaders poems, and they have been dyed under the nourishment of national culture. The classic traditions of Tang poems, Song Ci, and Yuanqu, which have a variety of deep connotations, are almost disconnected. If the new poems and traditions are completely broken, then those who take the ancient poetry poetry creative road from the leaders of the Fa -Dharma are at least semi -broken with the tradition. It is impossible of. Therefore, in order to create the goal of creating new poetry style, then the inheritance of the tradition of the national excellent cultural tradition must be supplemented. Therefore, the retro frenzy that the predecessors owe the debt and the future generations are not only needed, but also necessary. This is my basic view of the revival of ancient poems at the moment.

Comprehensively reflect on history, sober and profound understanding of the present, where is the future of poetry? It can be obtained. I think that at the level of theoretical understanding, we should carry out a wide and in -depth discussion of poetic essence. Whether the theoretical and creative circles, whether the authors of ancient poetry or the new poem author, we need to reach the most basic consensus on the following issues: 1. After all What is a poem? Should there be a prescribed element of basic style constituent elements? 2. Do you need to establish a new poetry that is both ethnic and epoch -making and at the same time, and at the same time, and poetry and music with the public? 3. If you need to create a new poem, do you need to innovate and develop on the basis of inheritance? Or is it like a new poem abandoning tradition and starting up another stove? This should have in -depth discussions guided by experts and scholars, the theorists and poets actively participated, and from the perspective of literary and physical and social culture, in order to reach the most basic consensus on the above issues.

Secondly, at the practical level, the poem writer must first face the problem of writing positions. It is necessary to consider whether it should and be willing to release self -release and self -realization. Can take the first -class everyone in the former sages such as Li, Du, Su, Xin, Guan, and Ma, seeing the sages and thinking together, integrating themselves to the public, working hard to teachers the former sages, and pay close attention to the present. Times singers can become one of the key rings in the development chain of the Chinese poetry development chain of the previous opening. If you implement the specific creative level, if you are willing to hold a popular position that integrates self -integration into the times, then, what kind of language forms are used and how to make your poetic language have a popular natural popularity without losing poetry. Specialty? How to inherit the tradition well and integrate the present? This requires our poetic writers to work hard to explore and actively explore experiments. The last problem to talk about is that the establishment of the new poetry style must win the active participation and response of the general public. The success of the success of Tang poetry, Song Ci, and Yuanqu Shi Le should be the best choice. In the era of Tang poetry, there were first -class poets such as Li Bai, Du Fu, Wang Wei, Wang Changling, Wang Zhizheng, Bai Juyi, and their poems were sought after by musicians. The singer sang the work of the first -class poet to the streets and alleys, so there is a society such as "Tongzi Xie Yin, Her Er can sing Pipa" and other society. , Jiang Yan, Xin Qiji and other first -class poets. Their words were sung by first -class singers such as Panpan, Qin Mao, Xiaohong, and Jin Sailan. The huge influence of "can sing Liu Ci"; In the Yuanqu era, Guan Hanqing, Bai Pu, Lu Zhi, Ma Zhiyuan, Guan Yunshi, Zhang Kejiu, Qiao Ji, Zeng Ruiqing and other first -class song artists, famous bead curtain shows in the world The singing and dissemination of first -class actors such as Shun Shi Show, Liang Yuanxiu, and Natural Show also have the social effect of "Shijing Children's Recitation of Ruiqing". In short, in the era of poetry and music, there are poetic writers and songwriters, and the talents of the great poets, the inspiration of the first -class musicians, can use the new poetry style of the people who like to recite the recitation. The singing and resonance of the United States and the United States not only influenced the society at the time, and cultivated thousands of people at the time, but also left the eternal artistic sound on the echo wall of history. Imagine that if there is no close body in the Tang Dynasty, there is no word in the Song Dynasty, and there is no song in the Yuan Dynasty. Can there be a song of poets and musicians to resonate, beauty and beauty? Be able to have the general participation of the people who are "bustling and long hate, Hu Er can sing pipa articles", "Everyone who can sing Liu Ci" and "Children in the City of the City" and " Is it? Can it have the condensation of the three classic poetry style of poems, words, and songs that affect later generations?

In summary, the current poetry creation, regardless of the new, old, poetry, scattered songs, can work hard to combine with music on the basis of inheriting the national excellent cultural traditions, work hard to integrate yourself to the times, integrate to the public, persist as the public, and persist as the public, persist as the masses, and persist as the public, persist as the masses, and persist as the public, and persist as the public. Whoever writes for the public may make his own contribution to the times in the creation of the "Fourth largest poetic style" of the ethnicity, era and popularization. As for the new poetry of ethnicity, the times, and popularization, what should the "fourth largest poetic style" be called? Is it the "free song" advocated by Mr. Ding Mang? Or is it called "Xinqu"? Or "new song"? And what other names? What kind of rhythm specifications should this new poetic style be? After the establishment of this new poetry, how is it related to the relationship between the ancient body poems, words, songs, and new poems? Due to space limitations, this needs to be discussed separately, and it is also necessary to continue to summarize and discuss further in practice.

This article was originally contained in the CPPCC News (10th edition on July 25, 2022). This is a complete and non -deleted version.

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