改龙泉诗《两个做梦都写诗的人》（2024.12.8号星期日）
诗人龙泉突然发来一诗，通过微信：
我一看就评道：
拿掉一个“泥”。拿掉第二个”喋“，改成”die“。
他改了，成这样：
我说：不是的，而是改成尼罗河沙俱下。然后又说：平空造一个新词：河沙俱下。
他又改了一次：
最后，我给了他一个这个：[ThumbsUp][Grin]
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 infl...
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