One of the biggest challenges in understanding Chinese poems today is due to the need to filter out the Western cultural influences and getting at the heart of what makes Chinese poetry distinct. In content, Chinese poets have begun to explore a wider variety of topics.
Free verse and experimentation are now more the exception than the rule. In form, poetry has largely abandoned many of the rigid structures of the dynastic periods. By the time a pidgin becomes a creole, the language has developed enough of its own characteristics to have a distinct grammar of its own. Ferguson (1959) described a diglossic situation using characteristics like function, prestige, literary. It’s a bare-bones language designed to enable minimum-viable communication. Implicational scaling was introduced in pidgin and creole studies by De Camp (1971) to analyze dialectal variation resulting from the co-existence of the standard language and a creole or pidgin base of that language in a country. Modern Chinese poetry demonstrates the influence of the outside world. Pidgins often borrow words from their source languages and feature a simplified grammar. However, enough freedom remains in the form that it is still popular today. Like the Ci poetry, there are certain patterns and expectations for all poetry composed as Ge. Everything from simple folk songs to elaborate lyrics are included in the form of Ge. However, Ge poetry was chanted and usually not accompanied with musical instruments, even though the rhythm is quite musical. Ci is a nearly extinct form, little used by modern poets. The Ci form of poetry was usually accompanied by music. Many of the patterns are enormously complicated, and new poets generally avoid the challenge. The pattern specifies line lengths and rhyme schemes, but content is entirely up to the poet. Ci is the name given to the pre-defined patterns which a Chinese poet fills in with characters of her choosing.
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