1920年代冯至的诗集《昨日之歌》在现代新诗史上的意义,与其说是为诗人日后《十四行集》的成功作了注脚,不如说是在白话新诗创作初期,在徐志摩、闻一多等人从形式上为新诗重建规范时,冯至以其曲折幽婉的情感表达和冷峻深沉的哲思凝想,为探索中的白话新诗提供了一种新的审美范式。 The significance of Feng Zhi’s poem “Yesterday’s Song” in the history of modern new poetry in the 1920s was not so much a footnote for the success of the poet’s “Fourteen Sets of Lines” as it is in the early days of the creation of new poems in the vernacular. When more than one person formally regulates the norms of new poetry, Feng Zhizhi provides a new aesthetic paradigm for his exploration of vernacular poetry with his twists and turns of sentimental expression and cold and deep philosophical contemplation.