多多（1951-）是當代大陸最為強勁的抒情詩人之一，他的詩始終是強力主體情感迸發的產物。在1990年代大陸漢語新詩的抒情主體由此前的統攝性模式，轉向對外部世界旁觀、商榷、對話的模式時，多多仍延續著1980年代的抒情方式，並不斷創造出卓異的抒情聲音。但隨著情緒強度的減弱，多多也來到依靠爆發力的抒情難以為繼的轉折口。本文從多多自身創作的這一難題出發，思考一個浪漫主義式的「強力主體」抒情的可能性與限度。文章按照時間脈絡，從抒情主體與詩中意象、語言、結構的關係角度，分析多多詩歌的審美特徵：在抒情力強盛的時段，這一浪漫主體如何由個性化語調生成、意象如何扮演情緒的度量衡作用、由情感所策動的張力結構如何在語言中自我衍生；而到了後期，以哲思代換情感或許並未考慮到語言自身的特性，故審美效果值得商榷。同時，多多與其後世代的詩人抒情方式的差異，以及不同抒情方式在形成和讀者接受方面與外部環境的關係，也從一個新的層面重新提示我們思考詩歌語言與現實世界的關係。

Duo Duo is one of the best poets in contemporary Chinese poetry. His poems are always motivated by strong emotion. At the turn between the 1980s and 1990s, the lyric subject of contemporary Chinese poetry experienced some internal changes, shifting from a soloist to a dialogist by watching, listening, and discussing with the outside world. However, Duo Duo is almost the only poet who continues this powerful solo-type lyric subject after the 1990s. But this solo-type subject also faces the difficulty of transition when the strong emotion gradually fades. The article starting from this problem, tries to reflect on the possibilities and limitations of this romantic-style lyric subject. In first 30 years, the lyric subject in Duo Duo’s poems creates vivid individual tone, extremely bright images and tensioned structure. In his latest poems, the aesthetic effect is somehow questionable when emotion is replaced by metaphysical words. At the same time, the different poetic styles between Duo Duo and his subsequent generation poets, and the interaction between different poetic styles and the era in which they generated, both in terms of writing and reading, also prompt us to rethink the relationship between poetic language and poets’ own existence from a new perspective.