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Example text

Part of it was another sort of access: access to high quality education (as the son of a prominent educator in the military) (Zhang Meifang 2001: 257). ” But while others preferred to serve as the collective mouthpiece for this sort of worldview, most of the Modernist poets (in various camps) elected to ply their own literary trade. It would be naive to assume there was no political tincture to their work. One must remember that poetry is a medium nicely suited to understatement. The romance and beauty of the exile motif in Zheng’s verse, for example, is never without its melancholy edge, and this melancholia had to have its source.

A simple answer would be: because it is not Classical Poetry. ” To compare Classical and Modern Poetry is, as the saying goes, to compare apples and oranges. One does not read Modern Poetry to find a Li Bo or Du Fu because there can never be a Li Bo or Du Fu in the twenty-first century, just as one cannot find a Dai Wangshu or Chen Li in Tang poetry. The difficulty for many readers of Modern Poetry derives from the fact that they bring to it long-established expectations inherited from Classical Poetry, with which they are far more familiar, such as rhyme, parallelism, formal symmetry, condensed imagery, recurrent themes and moods.

As I have discussed elsewhere (Yeh 1991b), the rethinking of the ontology of poetry in Modern Chinese Poetry is crystallized in these questions: what is poetry? whom is poetry for? and why poetry? ” The first time the word “revolution” was used in connection with poetry was in 1898, when the young intellectual Liang Qichao declared a revolution in the Poetry Domain 詩界革命. The goals of the revolution, according to Liang, were to Modern Chinese Poetry 17 introduce “new diction” 新詞語 and “new perspectives” 新意境 and to revive “ancient styles” 古風格 in poetry.

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