人必先有其魂,方可言艺术之作为;而诗人之精魂,实乃诗之精魂——尔后才有血脉、声韵以及隐显在语符间的汩汩然生之气息。以是观照当代中国诗歌创作现状,不能不无深切的忧思。新时期二十年来,诗界对西方现代派和后现代派的各种流派和主义,作了鸟瞰式的扫描和令人眼花缭乱的尝试。旗帜林立,口号云集,流派昙现,但定睛审视,仅见语符之包装,鲜见血韵之进溅,只有主义之堆砌,鲜闻灵魂之号呼。诗人之念念不忘者,无非为以私人身份向“内”转,以信徒身份向“西”转——此之谓诗歌之“失魂”。清人叶燮云:“我谓作诗者,亦必先有 People must first have their souls, before they speak of art as the poet’s soul, which is actually the soul of poetry - and later there are blood, sound and hidden in the language between the imposing manner of life. In view of the current situation of contemporary Chinese poetry, we can not but have no deep worries. In the two decades since the new period, the poetic circles scanned the bird’s eye view and dazzled the various genres and schools of Western modernism and post-modernism. There are many flags, slogans, schools, but with a closer look, we can see the packaging of the characters. The poet’s obsession with memory is nothing more than a transfer from the “inner” to the private, and the “west” transfer as a believer - a “lost soul” of poetry. Clement Ye Xieyun: "I am a poet, must first have