在对希尼作品中听觉和声音要素的研究里,有关他“倾听”的诗学思想及其实践鲜有评述。希尼作为一个听觉诗人,将他的“倾听”理念浓缩嵌置于诗文创作中。鉴于此,本文试图结合文本揭示其“倾听”思想及其诗学实践:通过“听觉地窖”的储存、“原始音调”的模仿和“个人音调”的探测这一系列的“倾听”实践,使得诗歌能够缔造一种既忠实于外部真实的冲击,又敏感于诗人存在的内部法则的秩序。 In the study of the elements of hearing and sound in Sinny’s work, there are few comments on the poetics and his practice about him. As an auditory poet, Shinni embeds the concept of his “listening” into poetry creation. In view of this, this article attempts to reveal its “listening” thoughts and their poetic practices in conjunction with the text: through the storage of “auditory cellar”, the imitation of “original tone” and the detection of “personal tone” Series of “listening” practices enabled poetry to create an order that was both faithful to the real impact of the outside world and sensitive to the internal rules of the poet’s existence.