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这是一首似乎不很像“诗”的诗。如同前辈诗人戴望舒所推许的法国后期象征派诗人耶麦(Franlis Jarnmes)那样,作者“抛弃了一切虚夸的华丽、精致、娇美”,用极其平淡朴实的字句,写出了这样一首“没有词藻的诗”——其实不唯“没有词藻”,而且没有音乐:没有尾韵,更不讲平仄、对仗,甚至连新诗所惯常使用的那种宽泛的复沓、对应等可能引发外在音乐性联想的手法,都小心翼翼地避开了。作者在抛弃了“虚夸的华丽”的同时,也抛弃了“矫饰的绝响”,抛弃了几乎所有能为好诗增光添彩,丰富其美学内涵,但也能为劣诗涂脂抹粉,掩盖其贫乏诗意的外在形式因素。这样,便只剩下了浓缩的、近乎裸呈的诗意。这些平淡的字句支撑着一个密度很大的精神情感世界。
This is a poem that does not seem much like a poem. Like the late French poet Franlis Jarnmes, as the predecessor poet Dai Wangshu put it, the author “abandoned all exaggerated gorgeousness, exquisiteness, charmingness” and wrote in an extremely plain and simple language that “no Poems of Words and Phrases ”- In fact, there is no such thing as“ no rhetoric ”, and there is no music: there is no end rhyme, not to mention flatness, antithesis, and even the broad complexities and correspondences commonly used in modern poetry that may trigger external music The way of sexual association, are carefully avoided. While abandoning the “grandiose gorgeousness”, the author abandoned the “perfect taste” and abandoned almost all the poems that can enrich the aesthetics and enrich its aesthetic connotation, but it can also cover up the poor poetry External form factor. In this way, only the condensed, nearly naked poetic remains. These plain words support a dense spiritual emotional world.