当前研究多将现代时期“儿童的发现”视为儿童文学及其各体裁发生的原因。事实虽如此，但这种观点往往遮蔽了以儿童诗为代表的具体文体的发生路径，容易脱离本土文化语境。据此，研究诗教转向视域下中国现代儿童诗的发生，一方面是回应“儿童的发现”与中国本土传统诗歌资源的衔接、融合和更生，阐释儿童诗文体的历史和现实合法性；另一方面则从诗歌的主要接受对象、本质观念、审美观、诗用观和表现形式多个维度来探讨儿童诗文体的生成，及其在报刊媒介、师范教育中普遍传播与实践的历史事实。

中国近现代转型之际，传统诗教也面临着现代转向的趋势。而作为一种新文体的儿童诗，其发生正代表着诗教传统受外来文化影响在中国现代社会变迁中的更新。即从1895-1927年儿童诗发生期中诗教各要素的现代转向来探析儿童诗文体的生成，采用“传统/现代”融合的理论视角，将其置于历史视野与本土语境中。意在重审儿童从诗歌里被动的风景到建设民族国家的中介符号，再到生命情感体验的诗歌主体言说历史。

首先，晚清时期，清王朝危如累卵的形势和社会“开民智”的思潮，使儿童成为国民启蒙的重要对象。传统诗教从主要以士人为教，转向主要以学生（儿童）为教，产生了为儿童写作诗歌来启蒙国民心的新诗歌教育浪潮。“诗界革命”中以儿童为明确教育对象的杂歌谣和学堂乐歌，皆是诗教对象转向的结果。由此，新诗歌教育构成了“儿童-国家”的话语结构，提升了儿童的价值意义。它仍延续传统诗教实践维持政治统治的路径，与并行的古诗歌教育通过读古诗歌有益风化、维持政权统治相似。不过，学堂乐歌等新诗歌教育意在建设资本主义改良国家，宣传现代民主国家的新观念，而非维持封建君主专制统治，有别于古诗歌教育培养忠顺之心的意旨。事实上，二者都是对传统读诗、写诗、解诗，注重平仄押韵的格律诗教育的革新。正是在以国家自强为名义的诗教革新中，儿童作为主要的诗教对象，其未来意义和国民价值浮现，形成了“少年话语”为代表的民族国家儿童观。

从晚清到“五四”，反对封建专制及袁世凯孔教思想统治的现实需求，直接唤起文学革命探寻完全人的价值使命，引起了文学的自然情感本质变革。“诗缘情”话语重提，形成与人的真实情感兴发息息相关的诗学本质，构成了本土情感话语的改造思潮。外来的华兹华斯、泰戈尔、朗费罗、斯蒂文森、罗塞蒂、北原白秋等浪漫主义话语理论，追求情感重现与童年诗意，形成了儿童诗的典范之作。它与本土情感话语改造共同支持了诗歌表现儿童主体情感的言说本质，并唤醒了儿童和成人的生命平等价值意识。正是站在个体情感表现的诗学本质上，周作人在文人诗创作中探寻到陶渊明、左思、高凤翰等文人对儿童的真情流露；在民间歌谣中梳理出儿歌的文学价值与功能，提炼其真实人情表现的诗身份。由此，他为儿童诗重构了两条历史发展脉络，并在浪漫话语理论的支持下，赋予儿童诗抒情本质的历史与空间双重合法性。这使以儿童为主体兴发生命情感体验的儿童诗，既是与历史书写相关的新时代人的诗，又是中国人追求平等意识的重要文学表征。

与此同时，晚清以来美育思想传入，与本土诗教礼乐传统融合，追求人的现世幸福和个体的身心发展。学校教育体制和育人目标，从传统的纲常秩序维持走向智育和德育，最终在五四时期形成美育、智育和德育三者并重，塑造身体与精神健全的人。它与“诗缘情”情感话语改造融合，使言说儿童主体情感的儿童诗忠实于儿童的生命特性，洋溢着动态活泼的生命美。这打破了传统以礼节情、禁锢自然生命的温柔敦厚审美观，突破了以静为美的单一美学理念；赋予了诗歌由昂扬蓬勃生命力构成的力量美和自由反抗之美。

其次，受到诗缘情话语的改造和诗歌审美变迁的影响，诗教以现实使用、受用于人为核心的诗用观延续，但诗用的场合与性质发生改变。儿童诗的出现，使诗歌教育中的儿童不仅是主要接受对象，也成为言说的情感主体。它意味着诗歌教育传统中君对臣、成人对儿童的高低等级秩序破裂，走向个体受用与平等沟通之路。由此，在成人与儿童的诗用沟通中，儿童生活诗成为一种理想美的召唤，具有纯洁成人心灵之用；摇篮诗则是成人对儿童的爱与期待的表现，流动着浓烈的人间情感；小诗的流行与问题，既显示了成人用诗歌对儿童进行知识普及的教育关怀与经验分享倾向，又呈现了诗歌中过于强调知识教育而忽视抒情本质的危险。三种类型的儿童诗体现了新的诗教沟通之用中成人与儿童之间双向流动的爱。与此同时，以儿童为言说主体，必然注重儿童内外精神生命的沟通和儿童思维特性。那么，儿童诗对自然的书写，成为诗歌沟通之用的一种新表现。尤其是童话诗的出现及其在五四时期的成型，意味着儿童内在精神生命与外在自然世界的融合，创生出极具想象力的新生命世界。由此，诗歌用于成人与儿童、儿童与自然世界的双向沟通，彰显了儿童言说主体的诗本质观与平等共享的现代思想。传统诗教从维持封建政治统治的教化之用转向实现人与人之间的沟通之用时，多种儿童诗类型亦应运而生，并用新形态实践着新应用。

儿童主体情感表现的本质确立，动态活泼的审美风格和新的诗歌应用类型的出现，都昭示着现代儿童诗的生成。而用何种形式去表现儿童情感，或者更具体地说，如何看待儿歌与儿童诗两种形态的关系，则形成了现代儿童诗发展中另一个亟待探讨的问题。事实上，这仍与诗教传统以声为用和以义为用的教化倾向有关，并关联着声诗与义诗的表现形式。重音还是重义的倾向，影响了儿童诗的文体边界。晚清时期，梁启超沿袭明清以来“声诗”的传统，用乐歌教育儿童，使民间歌谣、乐歌等重视声音表现的文体进入到诗的范畴，诗与歌不分。五四时期追求真情流露，重视辞义的表现，在白话文运动下发展为白话自由体的无韵儿童诗。而儿童喜欢音韵的天性，现代诗教重读诗愉悦感的体验，又使重音的儿歌被积极应用于儿童的诗歌教育，进一步巩固了它在儿童文学中的诗身份。早期“拟儿歌”的出现，昭示着现代儿童诗发生之际同时存在重音和重义的两种情感表现形式。这是以儿童接受诗歌教育为中心，呈现儿童诗借助“声音”或“辞义”表现儿童主体情感的形式差异。此后，儿童诗文体追求音义并重的倾向也与此相关。

最后，现代报刊媒介的出现，把诗歌教育从原本的私塾活动、师承之间的解诗传诗和酬唱往来等相对私人的空间，引入更广阔的公共空间，促进了儿童诗的普遍且具规模的传播与认知。正是在新的诗教生产传播机制中重新解读程菀的儿童诗命名事件，纠正了过往研究中将程菀之语作为儿童诗词汇与概念的来源错误。从中国的诗歌教育历史来看，儿童诗一词在宋元之际被视为一种基本符合作诗法则的诗歌，已经出现在诗话之中。明末清初的儿童诗一词相继出现民间儿童唱的歌谣和主要书写儿童生活游戏的概念内涵。五四时期则在周作人翻译介绍外国儿童诗、创作中国的儿童诗中，确立了以儿童为主体情感言说对象的诗之内涵。程菀的儿童诗则是在“五四”儿童诗内涵变迁之中的一种接受表现，并呈现出儿童诗借助现代媒介实现广泛模仿与实践的历史。成都的刊物《孤吟》对儿童诗的征稿与反思，上海的《儿童世界》《小朋友》长期刊登和鼓励儿童诗的创作，都使现代儿童诗的发生获得了普遍的实践。与此同时，从程菀命名儿童诗事件的历史误会来看，其师范教育经历，则显示出儿童诗的另一种生产传播机制——教育制度。新生的儿童诗借助以儿童为中心的课堂教育理念与教育方式的变化，在培养未来教师的过程中获得了栖息之地。因此，以报刊媒介和师范教育制度为代表，呈现了诗教的现代转向中新的生产传播机制是如何促进现代儿童诗的普遍接受的。

综上，在传统诗教的现代转向中，中国现代儿童诗的发生彰显着诗歌教育在转型社会中的新变，表现了诗教文化在新时代的生命力；又借助诗歌教育与时代思想变迁，书写了现世世界中新的人生经验和新生命的抒情，饱含着人的启蒙中平等与尊重的意识。儿童诗的发生，不仅是儿童观变化之中一种儿童文学类别的出现，还是人类历史进程中新生命与新体验的言说之变。

The current research mostly regards “the discovery of children” as the main reason about the generation of Chinese children's literature and its various genres. Although it reveals the conceptual significance of modern children's outlook, it obscures the generation of which specific genres, such as children’s poetry. At the same time, it is easy to deviate from the local cultural context. Therefore, the study on the generation of modern Chinese children's poetry under the perspective of poetry education is to respond to the convergence, integration and rejuvenation of “the discovery of children” and Chinese native traditional poetry resources, and to explain the historical and realistic legitimacy of children's poetry. On the other hand, it discusses the generation of children's poetry style and the historical facts of its universal dissemination and practice in newspapers, media and teacher education from the perspectives of the main object of poetry acceptance, essence concept, aesthetics, view of poetry uses and form of expression.

In the transition of modern China, the traditional poetry education is also facing the trend of modern turning. As a new style, the generation of children's poetry represents the renewal of the tradition of poetry education under the influence of foreign culture in the changes of Chinese modern society. That is, from the modern turn of the elements about poetry education in the period of children's poetry production from 1895 to 1927, the generation of children's poetry style is analyzed, and the theoretical perspective of “tradition/modernity” is adopted. And it is placed in the historical vision and local context. It is intended to re-examine the history of children's poetic subject speech from the passive scenery in poetry to the intermediary symbol of constructing the nation state, and then to the emotional experience of life.

First of all, in the late Qing Dynasty, the dangerous situation and the social trend of opening people's wisdom made children become an important object of national enlightenment. The traditional poetry education was changed from scholars to students(children), which produced a new wave of poetry education for children to enlighten the people of the country. In the “Poetry Revolution”，the various ballads and school songs with children as the explicit education object were the result of the change in the object of poetry education. As a result, the new poetry education constitutes the discourse structure of “child - country” and enhances the value of children. It still continues the path of maintaining political rule through the practice of traditional poetry education which is similar to the parallel ancient poetry education, which is useful for edifying the people like the wind in reading ancient poetry. However, the new poetry education, such as School Song, aims to build a reformed capitalist country and promote the new concept of modern democratic country, rather than maintain the feudal monarchy rule, which is different from the intention of the ancient poetry education to cultivate loyalty. In fact, both of them are innovations to the traditional metrical poetry education of reading, writing and deciphering poetry, focusing on the tonal rhyme. It was in the reform of poetry education in the name of national self-improvement that children, as the main object of poetry education, emerged their future significance and national value, forming a nation state view of children represented by “youth discourse”.

From the late Qing Dynasty to the May Fourth Movement, the realistic demand of opposing the feudal autocracy and the rule of Yuan Shikai’s Confucian ideology directly aroused the literary revolution to explore the value mission of perfect human beings, and caused the natural emotional essence of literature to change. The discourse of poetic love was re-mentioned, forming the poetics essence closely related to the real emotion of human beings, and constituting the transformation trend of thought of local emotion discourse. The romantic discourse theories of Wordsworth, Tagore, Longfellow，Stevenson, Rossetti, Kitahara and so on pursued the reproduction of emotion and the poetry of childhood, and formed the model of children's poetry. It together with the transformation of native emotional discourse, supports the essence of speech in poetry to express children's subjective emotions, and awakens the consciousness of equal value of life for children and adults. Standing on the poetics essence of individual emotion expression, Zhou Zuoren explored the true feelings of Tao Yuanming, Zuo Si, Cao Fenghan and other literati to children in their poetry creation. The literary value and function of children's songs are sorted out in folk ballads, and the poetic identity of their true human feelings is refined. Thus, the reconstructed two historical development lines for children's poetry, and with the support of romantic discourse theory, gave the lyrical nature of children's poetry dual legitimacy of history and space. As a result, children's poetry with children as the main body initiating life emotion experience is not only the poetry of the new age people related to historical writing, but also an important literary representation of the Chinese people's consciousness of pursuing equality.

At the same time, since the late Qing Dynasty, the idea of aesthetic education was introduced and integrated with the local tradition of poetry, etiquette and music to pursue the happiness of people in this world and the physical and mental development of individuals. The school education system and education goal changed from the maintenance of traditional moral order to intellectual education and moral education, and finally formed aesthetic education, intellectual education and moral education in the May Fourth period, and shaped people with healthy body and spirit. It is reformed and integrated with the emotional discourse of poetic love, so that the children's poems that speak the main emotions of children are faithful to the characteristics of children's life and brimming with the dynamic and lively beauty of life. This breaks the traditional tender and generous aesthetic view of etiquette and confining natural life, and breaks through the single aesthetic idea of static beauty：It gives poetry the beauty of strength and free resistance composed of high spirited vitality.

Secondly, under the influence of the transformation of the words about poetic affection and the changes of poetry aesthetics, the view of poetic use continues with the use of reality and the use of people, but the occasion and nature of the use of poetry change. The appearance of children's poetry makes children in poetry education not only the main object of acceptance, but also the emotional subject of speech. It means that the high and low order of king to minister and adults to children in the tradition of poetry education is broken, and it is going to the road of individual acceptance and equal communication. Therefore, in the communication between adults and children, children's life poetry becomes a kind of ideal beauty call, which has the use of pure adult soul. Cradle poetry is the expression of adults' love and expectation for children, with strong human emotion flowing. The popularity and problems of small poems not only show the educational concern and experience sharing tendency of adults to popularize knowledge for children by poetry, but also show the danger of too much emphasis on knowledge education and neglect of lyric nature in poetry. The three types of children's poems reflect the two-way flow of love between adults and children in the new communication of poetry education. At the same time, with children as the main body of speech, it is necessary to pay attention to the communication of children's inner and outer spiritual life and the characteristics of children' s thinking. Then, the writing of children's poetry on nature has become a new expression of poetic communication. In particular, the generation of fairy tale poetry and its formation in the May Fourth Period mean the integration of children's inner spiritual life and outer natural world, creating a new life world with great imagination. As a result, poetry is used for two way communication between adults and children, children and the natural world, demonstrating the poetic essence view of children's speech subject and the modern idea of equal sharing. When traditional poetry education changed from the purpose of maintaining the enlightenment of feudal political rule to the purpose of realizing the communication between people, a variety of types of children's poetry came into being and practiced new applications with new forms.

The establishment of the essence of children's subject emotion expression, the emergence of dynamic aesthetic style and new types of poetry application all indicate the generation of modern children's poetry. What form to use to express children's emotions, or specifically, how to treat the relationship between the two forms of children's songs and children's poetry, is another issue that needs to be discussed in the development of modern children's poetry. As a matter of fact, this is still related to the tendency of the traditional poetry teaching to use sound and righteousness, and related to the expression forms of sound poetry and righteousness poetry. The tendency of emphasis or emphasis on meaning affects the stylistic boundary of children's poetry. In the late Qing Dynasty, Liang Qichao followed the tradition of "sound poetry" since the Ming and Qing Dynasties, and educated children with music, so that the style of folk ballads and music songs, which paid attention to the expression of sound, entered the category of poetry, and poetry and song were not divided. In the May Fourth period, he pursued the expression of true feelings and paid attention to the expression of words. Under the vernacular movement, it developed the blank rhyme children's poetry into vernacular freestyle. The nature of children's love of rhyme and the experience of the pleasure of re reading poetry in modern poetry teaching make the stressed rhyme actively applied in children's poetry education, further consolidating its poetic identity in children's literature. The appearance of quasi nursery rhymes in the early stage indicates that there are two emotional expression forms of stress and emphasis in children's poetry. This is the focus of children's poetry education, showing the children's poetry with the use of “sound” or “words” to express the main emotion of children's form difference. Since then, the tendency of children's poetry style to pay equal attention to sound and meaning is also related to this.

Finally, the occurrence of modern newspapers and media introduced poetry education from the private space of private school activities, interpretation of poems between teachers and students and exchange of poems and singing into a broader public space, which promoted the widespread and large-scale dissemination and cognition of children's poetry. It is the re-interpretation of Cheng Wan's children's poetry naming event in the new production and communication mechanism of poetry education that corrects the mistake of using Cheng Wan's words as the source of the vocabulary and concept of children's poetry in previous studies. From the perspective of the history of Chinese poetry education, the term “children's poetry” was regarded as a kind of poetry which basically conforms to the principle of poetry writing in the Song and Yuan Dynasties, and it has already appeared in notes on poets and poetry. In the late Ming and early Qing dynasties, the term “children's poetry” appeared one after another with the concept connotation of songs sung by folk children and games mainly written about children's life. In the May Fourth Period, Zhou Zuoren established the connotation of children's poetry with children as the subject of emotion in the translation and introduction of foreign children's poetry and the creation of Chinese children's poetry. Cheng Wan's “children's poetry” is a kind of acceptance in the connotation change of “May Fourth” children's poetry, and shows the history of children's poetry to realize extensive imitation and practice with the help of modern media. The solicitation and reflection of children's poetry in the journal GuYin in Chengdu, and the long-term publication and encouragement of children's poetry in Children's World and Little Friends in Shanghai have all made the generation of modern children's poetry widely practiced. At the same time, judging from the historical misunderstanding of Cheng Wan's “children's poetry”, her experience in teacher education shows another mechanism of production and dissemination of children's poetry--the education system. With the change of child-centered classroom education concept and education mode, the newly born children's poetry has gained a habitat in the process of training future teachers. Therefore, with the newspaper media and the teacher education system as the representative, it shows the new production and communication mechanism in the modern turn of poetry teaching promotes the general acceptance of modern children’s poetry.

To sum up, in the modern turn of traditional poetry teaching, the generation of modern children's poetry in China highlights the new change of poetry education in the transitional society, and shows the vitality of poetry education culture in the new era. With the help of poetry education and the ideological changes of times, the new life experience and lyricism of new life in this world are written, full of the consciousness of equality and respect in people's enlightenment. The generation of children’s poetry is not only the emergence of a category of children's literature in the change of children's outlook, but also the change of the speech of new life and new experience in the course of human history.