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《秋水仙》、《三只海鸥同行》、《课》均作于50年代。多敏这一时期的诗无一不流露出对战后德国这个深受创伤的民族的沉思,诗多废墟景象,笼罩着浪迹无踪的漂泊感及对命运无常的恐惧;人物是被遗弃、隔绝的一群,为灾难打击,失去家乡而寻找家乡。诗中沉郁着一种深藏不露、回流其中的哀伤。诗的意象丰润、滞重、加之画面不断变动、切换,如置身雾界,缥缈不定。多敏并不长于文学式的沉思,只是提供情绪渗透其中的图像,其诗有欠深度,且由于过多的叙述而使诗质稍薄。但她丰富而奇诡的想像、独特的譬喻、准确细致地描述系列感觉的能力确使人印象深刻。诗风蜿蜓、绵密,结句常别有洞天,是她的诗曲一大特点。多敏的诗虽主题单调,但正如人们评及美国诗人罗伯特·弗罗斯特时所说的那样:由于述说她的痛苦,希尔德·多敏减轻了她那个民族的苦楚。·译者·
“Daffodil”, “three seagulls counterparts”, “class” are made in the 1950s. Duo Min’s poems in this period all showed the contemplation of the traumatized nation of Germany after the war. The scene of the poetic ruins shrouded the wandering sense of wandering and the fear of destiny. The figures were abandoned and isolated A group of, for the disaster hit, lost their hometown and find their hometown. Depression in the poem is a deep hidden, back to the sadness. The image of the poem is rich, heavy, combined with the ever-changing picture, switching, such as exposure to the fog sector, staggering. Multi-sensitivity is not longer than the literary contemplation, but to provide the image of the infiltration of emotions, the poetry owes depth, and due to too much narrative poetic thinner. But her rich and curious imagination, unique metaphors, and the ability to accurately and subtly describe the sensations of the series are truly impressive. Poetic wind meandering, dense, the sentence often have cavernous, is a major feature of her poetry. The poignant poem, though monotonous in theme, as one commented on the American poet Robert Frost: Hild Duomin alleviates the pain of her nation by describing her pain. · Translator