在中国当代新诗的各种写作取向中,“回归古典”是一个有许多杰出诗人探索的重要取向。本文试图以“沉郁”这一诗学理念来概括当代新诗的古典取向,在一种贯通古今的视野中理解当代新诗与古典传统的深层关联,并说明中国当代诗人在面对“现代性危机”和中国古典文教、伦理和政治秩序的衰败状况时,是如何返回和接续古典的。通过对一系列当代新诗作品的具体分析,本文对源自西方近代的“忧郁”经验与植根于中国古典的“沉郁”经验作了区分,并进一步区分了作为“情调”的沉郁和作为“精神”的沉郁。最后,本文将“沉郁”理解为“忧患意识”的一种形态,理解为一种“重拙而微妙”的精神,它是“新诗”之为“中国诗”的关键所在。因此,无论是对于新诗传统与古诗传统的连接和交通来说,还是对于新诗的内在深度、力量、以及它将来所能获得的历史评价来说,“沉郁”这一尺度的确立都极为必要。 Among the various writing orientations of Chinese contemporary new poetry, “Returning to Classicality” is an important orientation that many outstanding poets explore. This paper attempts to summarize the classical orientation of contemporary poetry with the poetic concept of “gloominess”, and to understand the deep relationship between contemporary poetry and classical tradition in an ancient and modern vision. Sexual crisis “and the decline of classical Chinese culture and education, ethics and political order, how to return and continue the classical. Through a detailed analysis of a series of contemporary poems, this paper makes a distinction between the ”melancholy “ experience originated in the modern West and the ”gloomy “ experience rooted in the Chinese classical and further distinguishes the ” “Depression and gloominess as ” spirit “. In the end, this article interprets ”Shen Yu“ as a kind of ”sense of urgency“ as a kind of ”reluctant and subtle“ spirit, which is ”Chinese poetry“ ”The key. Therefore, no matter for the connection and transportation between the tradition of new poetry and the tradition of ancient poetry, or for the inherent depth and strength of the new poem and the historical evaluation it can obtain in the future, the establishment of “gloominess” is extremely necessary.