本文探討現代抒情詩的表裏，進而考察它與各種表現手法的交融互滲。舊有的論述較看重瘂弦的戲劇性，本文則較果決地以抒情為本位，重新詮釋瘂弦，並闡明其戲劇手法乃至敘述成分。具體操作上，先尋索瘂弦詩中最根本的「詠歎式抒情」，看他如何融鑄中國新詩傳統與西洋譯詩的語法和感性，形成自己的初步風格。然後即將觀察重點放在三種進階的抒情體式上：一是詩中具有明顯的「我―你」結構，並把話題放在對象上的「傾訴式抒情」。二是採用或寛或鬆的獨白體式，以拿腔作調的技術穿梭於人我之間，使主體狀態趨於可疑的「換位式抒情」。三是以第三人稱觀點，刻意置身事外，看似冷眼旁觀卻另有寄寓的「抽離式抒情」。

This article discusses the surface and the content of modern lyric poetry and examines the blending and infiltration of its various expressions. In contrast to past studies on Ya Hsien’s poetry that have paid more attention to its dramaticism, this article decisively focuses on its lyricalness to expound its dramatic devices and narrative elements. Specifically speaking, this article firstly searches for the most fundamental “aria type lyric device” to observe how he forms his initial style by blending the tradition of Chinese new poetry with the grammar and sensibility of Western translated poetry. It then observes the following three advanced lyric devices: the confiding type lyric device, the transposing type lyric device, and the distancing type lyric device. The confiding type lyric device is to arrange obvious “I-you” structures in the poem when taking the subject as the topic. The transposing type lyric device is to use loose dramatic monologue and the techniques of mimicking and attitudinizing to shuttle between the self and others and leave the subject dubitable. The distancing type lyric device is to deliberately keep aloof with a third person’s viewpoint. It seems an observation with a cold eye but actually contains implied messages.