三十年代围绕《现代》杂志而形成的 ,以戴望舒为领袖和代表的“现代”诗派的诗歌创作 ,并非铁板一块 ,而是可以划分为以戴望舒为代表的象征主义诗风 ;以施蛰存为代表的“意象诗”派诗风 ;以徐迟、路易士、陈江帆等为代表的以现代都市生活为题材 ,趋于“知性化”的 ,在一定程度上与未来主义、立体主义及超现实主义等诗派有关的诗风三大块。其中的第三种诗风素为理论界所有意无意忽视。它表征了中国现代都市诗的发生。中国现代都市诗拓展了中国新诗一个新颖广阔的题材表现领域 ,弥补了“五四”以来的新文学“没有都会诗人”的缺憾 ,它与“新感觉派”小说一道 ,加快了“城市文学”追赶“乡土文学”的脚步 ,并对后来中国新诗的发展产生了一定的影响 The “modern” poetic school formed around the magazine “Modern” in the 1930’s and headed by Dai Wangshu as its leader and representative is not a piece of iron plate, but can be divided into a symbolic poetic style represented by Dai Wangshu; Represented by the “image poetry” style; with Xu Chi, Louis, Chen Jiangfan as the representative of modern urban life as the theme, tend to “intellectual”, to some extent, with futurism, cubism and surreal Doctrine and other poetry-style poetry three big block. One of the third poetic elements of the theoretical circles are all unintentionally ignored. It represents the occurrence of modern Chinese urban poetry. Chinese modern urban poetry expands a new and vast field of theme expression of new Chinese poetry and makes up for the shortcomings of “no metropolitan poet” in the new literature since the May 4th Movement. With the novel of “New Sensation”, the modern Chinese city poetry accelerates “urban literature” Catch up with the “local literature” and have a certain impact on the development of later Chinese new poetry