威廉·华兹华斯曾经说,“剖析等于谋杀”。他谈的不是解剖学,而是诗歌评论。T.S.艾略特也曾经说,对诗人来说,“诗歌可能首先产生于节奏”。他所谈的是诗歌的形式对于内容的关系。三、四十年代的美国“新批评”也把诗歌视为一个“有机”的整体,认为它是有“生命”的。我们不能将诗歌的意义和音乐性分离而论,因为“诗歌只存在,而不表意”。如果没有形式,就等于没有诗歌。这些观点都强调了诗歌的形式和内容的有机联系,强调了二者在诗歌中所构成的统一体。的确,我们从诗里看出的意义并非诗歌的全貌,诗歌通过文字的排列组合,使每一个字在排列组合中都可能产生比它本身更丰富、更离奇的意境。 William Wordsworth once said, “Anatomy is equal to murder.” He is not talking about anatomy, but poetry criticism. T.S. Eliot also once said that for the poet, “poetry may first come from the rhythm.” What he is talking about is the relationship between the form of poetry and the content. The United States in the 1930s and the New Criticism also regard poetry as an organic whole, and consider it as life. We can not separate the meaning and the musicality of poetry because “poetry exists only, not meaning.” If there is no form, it means no poetry. All of these views emphasize the organic connection between the form and content of poetry, emphasizing the unity of the two in poetry. Indeed, the significance we see from poetry is not the whole picture of poetry. Through the arrangement and arrangement of words, every word in the permutation and combination may produce richer and more bizarre conceptions than itself.