In the classification of poetry and poets, “realistic” and “lyrical” are contextually complementary through comparison and contrast. In this paper, six poets, Ke-hua Chen (陳克華), Stone Kuei Tse (奎澤石頭), Cheng-chen Chien (簡政珍), Wei-lien Yeh (葉維廉), Lo Fu (洛夫) and Yang Mu (楊牧), are categorized into two groups in terms of a dichotomy of realism and lyricism. The former three poets are
defined as poets of poetic realism; the latter three are looked upon as poets of realistic lyricism. These two definitions are further subcategorized into six perspectives of aesthetics: Science Language, Reality
Cleft, Language Being, Silence Singularity, Abnormality but Universality, and Doing for Mankind. The aesthetic levels of realistic poetry range from teleology and surrealism to poetic reality. The aesthetic levels of lyrical poetry, on the other hand, range from narcissism, pure love and habitual lyricism to
realistic lyricism. The heart of poetic realism lies in the narrator’s (the poet’s) empathy. His or her experiences are employed in the poetry. In contrast, the core of the poetry of realistic lyricism depends on the poet’s personal experiences. The beau ideal of two sorts of long poetry embodies the truth: good
fame travels far away. The artifice of poetry is beautiful and the quality of poetry is wonderful. Pure benevolence is like moonlight which gently shines on rivers and overflows a checkerboard of lines.
Relation:
Asian Journal of Management and Humanity Sciences 1(3):494-511
