一 自八十年代初期开始,大陆诗坛,对所谓“朦胧诗”问题,有时讨论,有时争论,断断续续地持续了十年左右。在这段时间,台港诗人多处于旁观的地位,冷眼观看:一,大陆部分青年诗人,或者借鉴西方现代派,或者模拟台港诗风,在体式上、语言上、风格上……极尽追逐之能事;二,大陆的诗评家对这些青年诗人追逐西方和台港风格的诗,有的认为看不懂,斥之为“朦胧古怪”诗;有的则相反,认为他们运用了新的美学原则,是“崛起的诗群”,称之为“崛起派”或“新潮”派。从而,前者与后者形成松散的两极,展开了一些讨论或争论。前者被认为是观点陈旧的保守派或传统派;后者则以新潮派的启蒙人甚至导向者自居,双方虽经反复较量,仍然各是其是,各非其非,无助于概念的明确,更难说是实事求是的百家争鸣。尔后,经过1984年前后的“反精神污染”和1989年的天安门事件,双方阵容虽逐渐分明。但都因迫于形势的起伏不定,论战由公开渐趋隐蔽,近似冷战状态;而在冷战状态中,涌现一些以赏析为业的诗评者,配合市场需要,出版了若干赏析性的通俗读物。命名为《两岸朦胧诗选》、《台港朦胧诗选》、《古今中外朦胧诗鉴赏辞典》……散布于东西南北,虽令人眼花缭乱,却只表明某些诗评者以及出版社,把大陆一时一地出现的“朦胧诗”加以扩大化,凡台、? Since the early 1980s, the mainland poetry circles have sometimes discussed and sometimes argued, sometimes intermittently, about the so-called “misty poems” for about a decade. During this time, many poets in Taiwan and Hong Kong are on the sidelines watching with indifference. First, some young poets in the Mainland learn from the Western modernist or imitate the poetic style in Taiwan and Hong Kong. They are physically, linguistically and styleually chasing The Mainland’s poet critics of these young poets chasing the Western and Taiwan-Hong Kong-style poems, some think they can not read, dismissed as “hazy weird” poetry; others on the contrary, that they use a new The aesthetic principle is “Rise of poetry,” called “rising party” or “trendy” school. As a result, the former formed a loose pole with the latter and started some discussion or debate. The former is regarded as a conservative conservative or traditional school of thought. The latter is a neo-confucian enterpriser or even a leader. Although the two sides have repeatedly contested, they still regard each other as its own right or wrong and help the concept to be clear It is harder to say that it is a hundred schools of thought that seek truth from facts. Later, after the “Anti-Spiritual Pollution” in 1984 and the Tiananmen Square incident in 1989, the ranks of the two sides gradually became clear. However, due to the ups and downs forced by the situation, the controversy was gradually concealed by the public and was similar to the Cold War. In the Cold War state, some poetic critics of the Appreciation Industry emerged. In response to the needs of the market, they published some appreciative popular books . Named “Obscure Poems on Both Sides of the Strait”, “Misty Poems in Taiwan and Hong Kong”, “Appreciation Dictionaries of Obscure Poems in Ancient and Modern Times” ... scattered in the East, West, South and North, it only shows that some poet critics and publishers The “misty poems” appearing on the mainland one after another are magnified