多多身為中國的知青詩人，在上山下鄉的年代裡，透過詩中的「我」來反映人身處時代當下的荒謬，身為人本身的權力是被壓抑與剝奪的，經由晦澀、朦朧的象徵性語言包裝，詩人將扭曲的我呈現在讀者眼前，此可視為詩人「個性化」的展現，以及對官方論述的反動。
在多多詩中「我」的形象，反映了生存受到壓抑的個體，時代對於人追求情感自由的抹殺與矛盾，乃至時代對人個性與自由的抹除。在多數的詩中，多多所筆下的「我」身處時代的荒謬之下，但卻未放棄以存在作為反抗的手段，具有存在主義的色彩。本文欲透過觀察多多在1960年代「上山下鄉」時期與「上山下鄉」之後詩中「我」視角的變化，以瞭解多多詩風的演變。

As an Knowledge youth poet in China, Duoduo reflected the absurdity of the times through the "I" in his poems. The power of being himself was suppressed and deprived. Symbolic language packaging, the poet presents the distorted me to the reader, which can be regarded as the poet's "personalization" and a reaction to the official discourse.
The image of "I" in Duoduo's poems reflects the individuals whose existence is suppressed, the erasure and contradiction of people's pursuit of emotional freedom, and even the erasure of human personality and freedom. In most poems, the "I" written by Duoduo is under the absurdity of the times, but has not given up the use of existence as a means of resistance, which has an existential color. This article intends to understand the evolution of Duto's poetic style by observing the change of the "I" perspective in poems during the period of " Down to the Countryside Movement " in the 1960s and after " Down to the Countryside Movement ".