罗伯特·克里利一直被认为是仅次于查尔斯·奥尔森的投射诗派中坚人物。他提出投射诗的核心原理:“形式向来不过是内容的延伸。”研读克里利的散文和访谈录可以发现,从20世纪50年代到70年代,他竭力拥护与奥尔森共同推出的投射诗理论,他此间有关客观性、语言、形式以及诗歌尺度的言论几乎都可以看作是投射诗理论的诠释。然而在创作实践中,即使是在他极力拥护投射诗理论时候,他的有些诗歌也表现出对投射诗原理的背离。这可以从他这段时期创作的几部组诗中得到证明。无论克里利是否遵循了投射诗理论,可以肯定的是,他一直尝试把自己的即时感知投射到诗歌中,从而为自己在美国诗歌史上奠定了不可替代的位置。 Robert Creely has long been regarded as the backbone of the projected poetic school behind Charles Olson. He put forward the core principle of projecting poetry: “The form has always been an extension of the content.” Studying Creer’s essays and interviews shows that from the 1950s to the 1970s, he tried his best to champion the co-introduction with Olson Almost all of his remarks on objectivity, language, form and poetic scale can be regarded as the interpretation of the theory of projected poetry. However, in his writing practice, some of his poems showed deviations from the principle of poetic poetry even when he strongly advocated the theory of poetic poetry. This can be testified from several poems written by him during this period. Regardless of whether Cliveley follows the theory of projected poetry, what is certain is that he always tries to project his immediate perception into his poetry, laying an irreplaceable position for himself in the history of American poetry.