在設計和創建新詩的節奏時，新詩格律的倡導者參照的對象集中於西方（尤其是英語）格律詩，試圖在現代漢語詩歌中建立類似西方詩歌那種以「音步」的均齊排列為基礎的節奏。但是現代漢語並沒有明顯的、普遍存在的輕重音或者長短音的區別，而聞一多 (1899-1946)、孫大雨 (1905-1997) 等格律詩的倡導者試圖以句法結構為原則來劃分「音步」或音節，以之為基礎構成節奏。這樣設計出來的格律詩並無有規律的內部語音排列，也無法和散文的節奏明顯地區分開來，其「音步」（或者音節）實際上有名無實，因此並無明顯的節奏效果。本文認為在探索新詩的節奏時，應重新回到節奏的基礎（即重複），而且參照的對象可以擴展到「開放形式」中的那些非格律的節奏方式。多多的詩歌明顯地實現了這種非格律的節奏，也為我們探索新詩節奏的方向開啟新的道路，並提供了有效的實例。

The pioneers of New Metrical Poetry focus their attention on the metrical poetryof the West, trying to construct a rhythm system neatly consisting of “meters,” similarto western metrical poetry. Modern Chinese, however, does not have a cleardistinction between stressed and unstressed syllables. In response, Wen Yiduo 聞一多(1899-1946) and Sun Dayu 孫大雨 (1905-1997) group “meters” by means of theirsyntactic structures and consider this to be the base of rhythm. This kind of metricalpoetry does not have any regular phonetic patterns, nor does it differ greatly fromprose. In other words, its “meter” is merely nominal and in fact has little rhythmicaleffect. I propose that one should return to using repetition as the base of rhythm inorder to construct the rhythmical system of New Poetry, and more attention should bepaid to the metrical patterns of “open forms” instead of that of regulated forms.Duoduo’s 多多poetry stands as a great example of non-metrical rhythm, enlighteningus on how to construct New Poetry in the future.