希尼的诗集《北方》在为诗人带来好评如潮的赞誉同时,也受到了不少评论家的质疑,认为他的成功纯属运气,更批评他在政治上的逃离。本文试图结合《北方》中最为突出的沼泽诗进行文本分析,对有关这本诗集的一些争论进行梳理辨析,从中得出希尼在《北方》里表面上看似回避北爱尔兰的现实暴力冲突,却绝不是所谓的“政治退缩”。事实上,《北方》的成功恰恰在于其通过挖掘沼泽意象迂回地进行历史暴力的艺术回溯,从而得以在广袤的层面上以更冷静客观的笔触观察、书写和反思人类文明史上的暴力循环。 Simultaneously, Schnee’s poetry “Northern China” received praise from poets. At the same time, he was questioned by many critics. He regarded his success as purely luck and criticized him for his political escape. This article attempts to combine the most prominent swamp poems in Northern China with textual analysis to sort out some controversies about this poetry collection and concludes that Shinni seemingly avoids the real violence conflicts in Northern Ireland in “the North” But by no means the so-called “political withdrawal”. In fact, the success of the “North” lies precisely in its retrospective art of circuitous historical violence through the excavation of marshland images, so that it can observe, write and reflect on the cycle of violence in the history of human civilization in a more calm and objective manner.