改诗（001）
今天（2023.9.4）“Otherland原乡砸诗群”上来一首匿名诗求砸，如下：
我正在外面散步，说：
一到家就把这首诗改了，如下：
《拾慌 》
重精求
子，
旺铺转
让，
高价回
收，
包治百
being，
老板跑
Loo，
高薪招
姘，
男女平
等，
明天还
你，
转家提
示，
马上就
到，
下次一
定，
美女一手
车，
菜马上就好
了，
我已阅读并同意用户阴私协
议，
我再讲1分
钟，
（欧阳改，不是欧阳海）
几位评者说：
注：该匿名诗的主人是阳帆
LOWER DOWNS, RUBBISH AND LOW POETRY by Ouyang Yu
Beauty is so far from being the dominant principle of modern poetry that many of the most splendid modern works are clearly portrayals of ugliness - Friedrich Schlegel ( On the Study of Greek Poetry , 1797) Contemporary Chinese poetry has unashamedly turned from the sublime and sacred to the vulgar and profane. In April 1999 at the Panfeng Conference in Pinggu County, Beijing, poets split into two camps, the zhishi fenzi (intellectual) and the minjian . 1 The poets in the intellectual camp (Wang Jiaxin, Ouyang Jianghe, Xi Chuan, Zang Di and others) were mostly well-published, anthologised, critically acclaimed, well-travelled and internationally well-connected. As university professor and poetry critic Cheng Guangwei noted, much of their poetry reflects the influences of Western literary masters such as Yeats, Rilke, Lowell, Pound, Baudelaire, Milosz, Pasternak and Brodsky. 2 The minjian camp (Yu Jian, Yi Sha, Xu Jiang and others) critiqued these influences as ‘European’ or ‘colo
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