| Abstract |
In the changeable languages of modern poetry, “deformed poetics” is proposed, by the author, to explain series of poems considered “difficult to understand”. “Deformation” contains the “change” of configuration, the “change” of syntax, and the “change” of concept, the most difficult part. This article gives all the details of the three variations with representative poets. Each of them created a “style”; and they collaboratively knit the sight for the goods on the languages of Chinese new poems in the century. Furthermore, this article affiliates the “deformed poetics” to its essence as the necessary process of the classical literary experiencing the colloquial change. Following the comparative poetics between Chinese and western syntax of Yeh Wei-lien, Tang poetry words mind-reading of Fran?ois Cheng, lyrical tradition analyses of Kao Yu-kung, or symbolic verses of Baudelaire, and the occident grammar with strong analyses and explanations, how shall the message, from traditional Chinese or western European poetics, of the words in a modern poem be looked upon? Being a new aspect of review, “deformed poetics” finally touches the problem of “existence truth”. The changes of appearance and common syntax concept further reflect a difficult and separate world. In such a domain where strange languages seem to be escaped, protected, and created, these sensitive poetic minds might be able to continue a more vivid “emotion” among involute culture shocks. “Lyrical tradition” also requires a big circle to be connected up.
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