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双桅船

Two-Mast Ship

舒婷

Shu Ting

爱情Love 象征Symbolism 名篇Masterpiece

雾打湿了我的双翼，可风却不容我再迟疑。
岸啊，心爱的岸，昨天刚刚和你告别，今天你又在这里。
明天我们将在另一个纬度相遇。

The mist has wet my two wings,
yet the wind will not let me hesitate any longer.
O shore, my beloved shore:
I parted from you only yesterday, and today you are here again.
Tomorrow we shall meet again at another latitude.
Listen

Meaning

The speaker, a ship with two masts, is driven by the wind to leave even though the mist wets her wings; she addresses the shore she loves, noting that they have only just parted and already met again, and predicts that tomorrow they will meet at yet another latitude. The poem turns the recurring pattern of parting and reunion into a promise that love is fulfilled on a higher plane.

浓雾打湿了我的双翼，可是风却不容许我再迟疑。岸啊，我亲爱的岸，昨天刚刚和你告别，今天你又出现在这里。明天，我们将在另一个纬度相遇。

Appreciation

[Plain Paraphrase] A ship tells the shore she must sail on, though she has only just left her; and she promises that the next meeting will be at another latitude. [Structure] Three stanzas moved forward by necessity, recurrence and promise, each answering the question raised by the last. [Imagery] The two-mast ship stands for the searcher, the shore for the beloved, the country or the ideal; mist and wind are obstruction and urgency. [Language] No allusion, no rare word — the poem is an intimate address, and its force comes from the turned clauses 'yet' and 'and again'. The closing line uses a modern scientific word to carry an ancient feeling, and that is what makes it a mime of the new imagery of the Misty School.

【白话串讲】 舒婷写《双桅船》：“雾打湿了我的双翼，可风却不容我再迟疑”。“岸啊，心爱的岸，昨天刚刚和你告别，今天你又在这里。明天我们将在另一个纬度相遇”——她写船与岸、离别与重逢。 【意象与手法】 全诗以「双桅船」与「岸」两个意象构成对话与象征：船与岸的聚散离合，象征恋人之间的离别与重逢，也象征理想、祖国与追寻者之间的关系。语言素朴而深情，「可」「却」的转折写出内心的矛盾与决绝，「明天我们将在另一个纬度相遇」以时空的变换写重逢的信念，含蓄而悠远。 【情感与主旨】 写恋人（或追寻者）与岸（所爱、祖国、理想）之间「离别—重逢」的永恒循环：虽不舍离别，但为了更美好的相遇必须启航；离别不是终结，而是通向更高处重逢的必经之路。 【名句点睛】 常考「明天我们将在另一个纬度相遇」——以「纬度」这一现代地理词汇写时空的变换，把离别的哀愁升华为重逢的信念，是朦胧诗以新意象写旧情感的典范。

Background

Shu Ting (b. 1952), from Xiamen, Fujian, was one of the representative poets of the Misty School, alongside Bei Dao and Gu Cheng; her verse is known for tender, deep feeling and fresh, elegant imagery. She went to the countryside in 1969, returned to the city as a worker in 1972, began publishing in 1977 and from 1979 co-founded the magazine 'Today' with Bei Dao and Gu Cheng. Between 1979 and 1981 she wrote 'To the Oak', 'O Motherland, I Love You So Deeply', 'Two-Mast Ship' and 'The Goddess Peak', and in 1981 the collection 'Two-Mast Ship' appeared — the title poem opens the book and gives it its name. The poem belongs to the moment when the Misty School moved from underground to public and from controversy to acceptance, when a generation was learning again to part and to meet, to leave and to seek.

舒婷（1952—），原名龚佩瑜，福建厦门人，朦胧诗派代表诗人之一，与北岛、顾城并称，其诗以细腻深挚的情思与典雅清新的意象著称。她1969年下乡插队，1972年返城当工人，在「文革」中度过青年时代，1977年开始发表诗作，1979年起与北岛、顾城等同人创办《今天》杂志，成为朦胧诗运动的中坚。1979至1981年间，她先后写出《致橡树》《祖国啊，我亲爱的祖国》《双桅船》《神女峰》等代表作，1981年出版诗集《双桅船》——此诗即该诗集的开卷之作，也是诗集得名之由。《双桅船》写于1981年，正值朦胧诗从地下走向公开、从争议走向认同的转折年代。诗以「船」与「岸」的聚散写爱情，也暗含一代人告别旧时代、驶向新时空的时代情绪：经历了十年动荡，人们重新学会告别与重逢、离别与寻找。舒婷的诗风在朦胧诗中以「温婉而坚定」著称，《双桅船》正是这一风格的典型：没有北岛的激烈、没有顾城的冷峻，而以深情的低语写出人生聚散的普遍哲思。

Art

The poem's charm lies in a symbol system built from the plainest language. Structurally it is the monologue of the ship, addressing the shore, so the lyric becomes a dialogue: the first stanza gives the necessity of departure — the mist wets the wings, yet the wind will not wait — and sets the reluctance against the obligation; the second stanza returns to the shore, 'yesterday parted, today here again', and the recurrence is what makes revolution possible; the third stanza projects the promise, meeting at another latitude. As images, the two-mast ship stands for the searcher, the shore for the beloved, the country or the ideal; the mist is the obstruction, the wind the force that presses; and 'latitude' is a modern geographical term that measures the meeting in space. The diction is colloquial — 'O shore, my beloved shore' is plain speech raised to address — and the conjunctions 'yet', 'and', 'again' do the work of a much longer argument.

《双桅船》的艺术魅力，在于以最素朴的语言构建起精密而多义的象征系统，把「离别与重逢」这一古老母题写出全新的现代意味。结构上，全诗以「船」的独白展开，向「岸」倾诉，形成「船—岸」的对话性抒情；三节层层推进：第一节写启航的必然——雾虽打湿双翼，风却不容迟疑，写离别的不得已与决绝；第二节写重逢的循环——昨天告别、今天又在这里，写聚散的往复；第三节写未来的信念——明天将在另一个纬度相遇，把离别升华为重逢的承诺。意象上，「双桅船」自喻追寻者——双桅象征人格的独立与并立（两个桅杆互相支撑，暗含现代爱情观中「平等独立」的理想，与《致橡树》精神相通）；「岸」象征所爱、祖国或理想——船的归宿；「雾」「风」象征阻隔与催促的力量；「纬度」则以现代地理名词写时空的变换，是朦胧诗「新意象」的典范。语言上，全诗不用一个典故、一个生僻词，以口语化的倾诉（「岸啊，心爱的岸」）写深情，以「可」「却」「又」的转折写矛盾，含蓄蕴藉，余味悠长，是「以浅语写深情」的极致。

Allusions

The poem uses no allusions, yet it belongs to a very old Chinese tradition of the boat and the shore. The boat as an image of drifting life and of seek the spirit runs from 'the cypress boat adrift' in the 'Book of Songs' and 'I take a boat upstream' in the 'Chu Ci' to Su Shi's 'a small boat, and my life in the river and sea'. Shu Ting's ship is not a lonely skiff but a ship with two masts standing side by side, so drifting is companioned and seeking is supported — a modern, particularly female, stance of independence and mutual support that answers 'To the Oak'. The shore is both the destination and the beginning, and the classical longing for 'the other shore' becomes here a longing for the place of reunion. Mist stands for the confusion of obstruction, wind for the urging force — one checking, one pressing. And 'latitude' is the newest word in the poem: by measuring reunion in coordinates it replaces the classical 'ends of the earth', and gives an old feeling a modern form.

《双桅船》不用故实，却深植于中国文学「行舟—登岸」的抒情传统，其象征系统可溯至悠远的源头。其一是「舟」的意象传统：从《诗经》「泛彼柏舟」的漂泊之感，到《楚辞》「乘舲船余上沅兮」的求索之行，再到苏轼「小舟从此逝，江海寄余生」的超脱，舟在中国文学中恒为人生漂泊与精神求索的象征；舒婷的「双桅船」承此传统而赋新义——不再是孤独的扁舟，而是「双桅」的并立之舟，漂泊中有伴侣，求索中有支撑，暗含现代人（尤其现代女性）独立而相携的生命姿态。其二是「岸」的意象：岸是舟的归宿与起点，古人「此岸—彼岸」的宗教哲思与「望彼岸」的渴慕，在此转化为对重逢之地的向往。其三是「雾」「风」的象征：「雾」写阻隔的迷茫（古乐府「雾露隐芙蓉」、李商隐「碧城十二曲阑干」的迷离之境），「风」写催行的力量（李白「长风破浪会有时」的济世之志），一阻一催，构成启航的内在矛盾。其四是「纬度」的新词入诗：以地理学术语写时间的流转与空间的变换，是新诗「现代性」的标志——把古典的「天涯海角」置换为科学的「纬度」，古老情感获得现代表述。全诗无一典而典脉深厚，正是「化典于无形」的功力。

Commentary

'Two-Mast Ship' is among Shu Ting's best poems and the most resilient of the Misty School. It appeared at the height of the controversy over the school, and won readers by a universal feeling that outlived its occasion: it writes neither wounds nor complaints but parting and reunion, leaving and seeking, and raises a generation's experience into a common human emotion — proving that the Misty School belongs not only to a decade but to permanent humanity. Its place in literary history begins with the modernity of its view of love: continuing 'To the Oak', love here is not attachment but mutual looking-on, the ship and the shore each independent and each drawing the other, and 'another latitude' hints that love is completed in a higher time and space; this ideal of love that is independent yet supportive became the shared spiritual legacy of 1980s women's writing and the Misty School. It was awarded the first national prize for fine new poetry by the China Writers Association, has been reprinted in many anthologies and textbooks, and the cry 'O shore, my beloved shore' and the image of meeting at another latitude have become standard Chinese ways of speaking about parting and union.

《双桅船》是舒婷的代表作之一，也是朦胧诗中最富柔韧力量的作品。它发表于朦胧诗最受争议的年代，却以其超越时代的普世情怀征服了读者：它不写伤痕与控诉，而写离别与重逢、告别与寻找，把一代人的命运体验升华为人类共通的情感经验，证明朦胧诗不仅属于特定年代，更属于永恒的人性。其文学史意义首先在爱情观的现代性：与《致橡树》一脉相承，《双桅船》中的爱不是依附而是相望，船与岸各自独立而彼此牵引，「另一个纬度相遇」暗示爱在更高的时空得到完成，这种「独立而相携」的爱情理想，成为1980年代女性文学与朦胧诗共同的精神遗产。其次在艺术范式的确立：以日常物象（船、岸、雾、风、纬度）构建象征系统，以低语式倾诉写深刻哲思，确立了舒婷「温婉而坚定」的诗风，与北岛的冷峻、顾城的纯净鼎足而三，构成朦胧诗美学的丰富面向。再次在传播与接受：诗集《双桅船》获中国作协第一届全国优秀新诗（诗集）奖，此诗入选多种选本与教材，其「岸啊，心爱的岸」的深情呼唤与「另一个纬度相遇」的现代意象，已成为中国新诗中描写聚散离合的经典表达，其影响力延续至今。

Prosody

Form Modern free lyric (three stanzas, unrhymed, colloquial address)现代自由体抒情诗（三节，无韵无格律，口语化倾诉体）
Rhyme There is no end-rhyme; the sound is woven from the returning 'i' and 'u' of 'wings', 'hesitate', 'here' and 'meet', and from the repeated particles 'yet', 'again' and 'will', so the verse keeps a hidden sound of its own while the turns in mid-line supply the rise and fall.不押韵脚，而以「翼—迟—里—遇」的「-i/-u」韵母回环与「又」「再」等字的重现形成内在节奏；句中「可」「却」「又」等转折虚词造成语调的起伏，声情在自由中暗含往复的韵律。
Tone pattern The lines are of uneven length and spoken. The first stanza is long and its cadence spreads, like a ship leaving slowly through the mist, while 'yet' and 'will not' turn the intonation; the second stanza rises on the address 'O shore, my beloved shore' and is then set by the 'yesterday ... today' balance, like waves striking the hull; the last line falls away, from eager to distant, like the tide going out.句式长短交错，口语化倾诉：首节两句较长，语势平缓而转折顿挫；中节以呼告（岸啊，心爱的岸）突起，语气转为深情急切，继以「昨天」「今天」对举的短句回环；结句一句收束，语调由急切归于悠远，如潮水退去，余波荡漾。
Reading note This free verse has no metre, and its music comes from the voice and the arrangement of the clauses. The whole poem traces a tidal curve — slow, fast, slow: the first stanza is made of long lines, thick with sound, and its two turning words, 'yet' and 'will not', turn the intonation down and then back up; the middle stanza breaks into an address, 'O shore, my beloved shore', and the drawn-out 'ah' changes the voice from narration to confession, then the 'yesterday, today' balance comes in even and unanswered, like waves against the hull; and the closing line grows sparser in syllables — tomorrow, latitude, meet — drawn out like a ship heading for the horizon. The returning 'i' and 'u' sounds hold the stanza together under the free verse, and words like 'again' and 'will' return to make the verse move back and forth, in step with the content of parting, meeting and parting again. The address 'O shore, my beloved shore' is the best example of spoken language made musical — no classical metre, and yet the modern Chinese language singing its own tune.《双桅船》是自由体诗，不押韵、不讲平仄，其音韵之美来自口语化的倾诉语气与句式节奏的精心安排。全诗三节，节拍呈现「缓—急—缓」的潮汐式曲线：首节「雾打湿了我的双翼，可风却不容我再迟疑」两句较长，音节绵密，如船在雾中缓缓起航，两个转折虚词「可」「却」造成语调的先抑后扬，把内心的矛盾化为声音的顿挫；中节「岸啊，心爱的岸」以呼告突起，两个「啊」的拖腔使语调由叙述转为倾诉，深情如水漫堤，随即「昨天刚刚和你告别，今天你又在这里」以「昨天」「今天」对举，音节整齐而回环，如浪拍船舷，往复不止；结句「明天我们将在另一个纬度相遇」一句收束，音节由密转疏，「明天」「纬度」「相遇」三个词以悠长的声调铺开，如船驶向远方的地平线，余韵绵延。全诗以「翼、迟、里、遇」等「-i/-u」韵母的暗中回环营造音韵的连续性，以「又」「再」等字的重现制造往复的律动，声情的起伏与「离别—重逢—再离别」的内容结构完全同构。尤其「岸啊，心爱的岸」的呼告，是口语入诗而声情并茂的范例——没有古典诗词的格律束缚，却有现代汉语自身的音乐性，恰合朦胧诗「以自由之体写深挚之情」的美学追求。

Line by line

雾打湿了我的双翼，可风却不容我再迟疑。

The mist has wet my two wings, yet the wind will not let me hesitate any longer.

浓雾打湿了我的双翼，可是风却不允许我再犹豫迟疑。

The fog has soaked my wings, but the wind will not let me linger.

开篇两句写启航的必然，是全诗情感的起点，也定下「离别的无奈与决绝」的双重基调。「雾打湿了我的双翼」——「雾」是阻隔的象征，打湿翅膀则不能高飞，暗写离别的牵绊与环境的迷蒙；「双翼」与「双桅船」呼应，以鸟翼写船帆，船与鸟合一，写出追寻者的灵动姿态。「可风却不容我再迟疑」——「可」「却」两个转折词连用，语势陡转：风（催行的力量、命运的催促）不容许再犹豫，把「不得不走」的无奈写得斩钉截铁。「不容」二字是强制的，不是「不让」，而是「不允许」，命运的催促不容商量。两句一柔一刚：雾的牵绊是柔的，风的催促是刚的；想留而不能留，欲行而心不忍，正是所有离别者的共同心境。而「再迟疑」三字暗示：这样的离别与迟疑已经发生过，还将继续发生——为下文「昨天告别、今天又在这里」的循环预作伏笔，也点出「双桅船」漂泊的宿命。

The wings. The fog has soaked my wings, but the wind will not let me linger. The fog-soaked wings and the wind-not-letting-me-linger are the opening. To have soaked the wings would be a soaking; the the-fog-has-soaked-my-wings-but-the-wind-will-not-let-me-linger is the soaking.

岸啊，心爱的岸，昨天刚刚和你告别，今天你又在这里。

O shore, my beloved shore: I parted from you only yesterday, and today you are here again.

岸啊，我亲爱的岸，昨天才刚刚和你告别，今天你又出现在我的面前。

O shore, my beloved shore; yesterday I just bade you farewell, and today you are here again.

中间三句是全诗情感的高潮，以深情的呼唤写聚散的循环，是全诗最动人的部分。「岸啊，心爱的岸」——连续两个呼唤，以呼告修辞直接倾诉，如恋人的低语、如游子的呢喃，「心爱的」三字不加修饰而深情毕现，是全诗唯一的直抒胸臆处，情感的浓度达到顶点。「昨天刚刚和你告别，今天你又在这里」——「昨天」「今天」的时间对举，写聚散之频、离合之速：刚刚告别，转眼重逢，仿佛岸一直追随在船的身旁；而「又」字写这不是第一次，也不是最后一次，聚散成了宿命的循环。这两句的妙处在以时间的压缩写空间的循环：船无论驶向何方，岸总在眼前——这「岸」或许是永远放不下的爱人，或许是萦绕于心的故土，或许是穷尽一生追寻的理想，它无法真正离开，也无法真正抵达。柔声的呼唤与无奈的循环相映，把离别的哀愁与重逢的慰藉熔于一炉，如潮汐般往复，动人心魄。

The shore. O shore, my beloved shore; yesterday I just bade you farewell, and today you are here again. The beloved shore addressed and the yesterday-farewell-today-here-again are the refrain. To have addressed the shore would be an address; the o-shore-my-beloved-shore-yesterday-i-just-bade-you-farewell-and-today-you-are-here-again is the address.

明天我们将在另一个纬度相遇。

Tomorrow we shall meet again at another latitude.

明天，我们将在另一个纬度——另一个时空——再次相遇。

Tomorrow we will meet on another latitude.

结句是全诗的升华，以「纬度」这一现代地理名词写重逢的信念，把离别的哀愁翻转为对未来的确信，余韵悠长。「明天」承接上文「昨天」「今天」，完成时间的三段式推进，但「明天」不是简单的重复，而是「另一个纬度」的明天——「纬度」是地理学名词，指地球表面的横向坐标，以「另一个纬度」写另一个空间、另一个时空，甚至另一个精神层面：今天在此地的告别，是为了明天在更高、更远、更新的地方的相遇。「我们」将相遇——不是「我」驶向「岸」，而是「我们」共同抵达，船与岸在新的纬度互相等待、互相成就，这正是《致橡树》「作为树的形象和你站在一起」的平等爱情观在时间维度上的展开。全句无一字写悲伤，而离别之痛尽化于重逢之信：真正的爱不以占有为终点，而允许彼此驶向远方，只要心怀「另一个纬度」的约定，每一次告别都是通向重逢的航程。三句之中，昨日、今朝、明日与此刻、此地、彼地交织成网，把整首诗的情感推向澄明而辽阔的远方。

The latitude. Tomorrow we will meet on another latitude. The tomorrow on another latitude meeting is the close. To have met on another latitude would be a meeting; the tomorrow-we-will-meet-on-another-latitude is the meeting.

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Word focus

双桅 Two masts. A two-masted sailing ship is also a figure of character: two masts stand side by side and share the sails, which is the relation of 'I' and 'you' — independent and supporting each other — and also the ideal of modern love in which neither clings nor swallows the other. The ship's drifting is therefore not a lonely one. 「双桅船」之「双桅」二字，是理解全诗象征意义的关键，也是舒婷爱情观的意象化表达。桅是帆船的支柱，一船双桅，在航海现实中指双桅帆船，在诗中则成为人格的象征：两个桅杆并立而各自独立，共同支撑起一片帆——这既是「我」与「你」的关系（独立而相携，各自挺立又同舟共济），也是理想中现代爱情的形态：不是依附（单桅独帆），不是吞并，而是平等的并立与共同的航行。由此「双桅船」的漂泊便不是孤舟的漂泊，而是有伴侣的征途——纵使雾打湿双翼、风催人启航，船上始终有另一个桅杆相伴，离别的孤独因此被稀释，重逢的信念因此有据。与《致橡树》「我必须是你近旁的一株木棉，作为树的形象和你站在一起」对照，可见「双桅」正是「木棉与橡树」意象的航船化变奏：从地上的并立之树到海上的并立之桅，舒婷一以贯之的，是「独立而相爱」的现代爱情理想。一词之设，全诗的精神格局为之奠定。
岸 Shore. The other pole of the lyric, called on and confessed to: it is the ship's destination and origin, the beloved, the homeland, the ideal. It is not a fixed end, though — it is parted from yesterday, met today, and will be met again tomorrow — so the shore keeps pace with the ship, and the poem's love is a meeting that is always about to happen. 「岸」是全诗被呼唤、被倾诉的对象，是抒情结构的第二极，其内涵丰富而多义。「岸」首先是船的归宿——船终将靠岸，岸是航行的意义所在；在爱情主题中，岸是所爱之人，是船（我）倾心奔赴的彼岸。但舒婷笔下的岸并非静止的终点：昨天刚告别，今天又在眼前，明天还要在另一个纬度相遇——这岸是「追着船走」的岸，是无法真正抵达、也无法真正离开的岸。由此岸又可以是故乡、祖国或理想的象征：船是漂泊的追寻者，岸是永远牵系着追寻者的精神家园，无论驶出多远，岸总在视线之内，重逢总在明天发生。更进一层，「岸」与「船」的若即若离，正是人类与所爱、与理想、与家园关系的普遍隐喻：爱不是占有（那样船便失去了航行的意义），而是允许彼此有「另一个纬度」，在更高处重逢。一字而多义，多义而圆融，是朦胧诗意象「多解而不歧解」的典范。
纬度 Latitude. A geographical term for the coordinates on the earth's surface, introduced here to measure a reunion: 'another latitude' means another place, another time, another and higher state of mind. The word modernises an ancient feeling and gives the promise the precision of a plotted course. 「明天我们将在另一个纬度相遇」之「纬度」二字，是这首诗最具现代感的词语，也是朦胧诗「新意象入诗」的标志性实践。「纬度」本是地理学术语，指地球表面的横向坐标，诗人将其引入抒情诗，以科学的精确置换古典的想象——古人不写「纬度」，而写「天涯海角」「关山万重」，舒婷则让重逢的地点成为可度量的坐标：「另一个纬度」意味着另一个空间，也暗示另一个时间、另一种人生、更高一层的精神境界。这个词的妙处在「以新写旧」：离别与重逢是古老的母题，而「纬度」赋予它现代的确定性——重逢不是渺茫的幻想，而是坐标可寻的约定，正如轮船终将抵达预定的港口；同时「纬度」的陌生化效果，让读者在熟悉的离别话语中骤然感到新鲜与辽阔，情感因之从缠绵的低回升华为理性的确信。它还与「双桅船」「雾」「风」等航海意象浑然一体，共同构成一个完整的现代航海象征系统，是新诗语言现代化的成功范例。

Related Reading

致橡树 To the Oak 舒婷 · 同作者爱情诗姊妹篇，一写平等并立一写聚散重逢 Companion love poems by the same author: equal and side by side, versus parting and reunion

'To the Oak' — 'I must be the kapok beside you, standing with you as a tree' — declares the equality of love and attacks the clinging of the climbing vine; 'Two-Mast Ship' writes love's parting and reunion through the ship and the shore. The two masts and the two trees are the same figure in different elements: side by side, independent and mutually supportive. The difference is the mode: 'To the Oak' is a manifesto, warm and outspoken, arguing its position directly; 'Two-Mast Ship' is a confession, low and far-reaching, suggesting everything. The oak poem is about standing together in space, the ship poem about waiting for each other in time. Read together they show both wings of Shu Ting's view of love — the resolve to stand as a tree, and the willingness to let you sail to the far places.

《致橡树》与《双桅船》同为舒婷1979至1981年间的爱情诗代表作，精神一脉相承。《致橡树》以「我必须是你近旁的一株木棉，作为树的形象和你站在一起」宣告爱情的平等独立，批判「攀援的凌霄花」式的依附；《双桅船》则以船与岸的聚散写爱情的离别与重逢——「双桅」与「木棉」异曲同工，皆是独立而相携的象征。差异在：《致橡树》是宣言体，情感热烈而立场鲜明，正面立论；双桅船是倾诉体，情感低回而意蕴悠远，侧面言情。致橡树写「站在一起」的空间并立，双桅船写「另一个纬度相遇」的时间守望。二诗合观，可见舒婷爱情观的两翼：既有「作为树的形象」的平等坚守，也有「允许你驶向远方」的深情放行，共同奠定了她在当代文学中「爱情理想主义」的独特地位。

 雨巷 Rainy Lane 戴望舒 · 同为追寻意象的象征诗，一江南雨巷一海上双桅 Both poems of search and meeting: a rainy lane in the south, a two-mast ship at sea

Dai Wangshu's 'Rainy Lane' — 'an oil-paper umbrella, alone, wandering the long, long and lonely rainy lane, I hope to meet a girl like an almond blossom' — and 'Two-Mast Ship' are both symbolic poems built on the pursuit and the meeting. The difference is the setting and the outcome: the rainy lane is Chinese, classical and damp, and the girl drifts 'like a dream', so the search ends in quiet disappointment; the sea is modern, open and clear, and the promised meeting is certain, so the search ends in a front promise. One is the bleakness of not meeting in the late 1920s, the other the resolution to meet in the early 1980s. Read together they trace the way Chinese symbolic poetry moved from the classical and the feminine to the modern and the bright.

戴望舒《雨巷》以「撑着油纸伞，独自彷徨在悠长、悠长又寂寥的雨巷，我希望逢着一个丁香一样的结着愁怨的姑娘」写对理想（或爱情）的执著追寻，与《双桅船》同属以「追寻—相遇」为内核的象征诗。差异在：《雨巷》是江南的、古典的——雨巷、油纸伞、丁香姑娘构成迷蒙哀怨的意境，姑娘「像梦一般地飘过」，追寻终成虚妄的惆怅，情调是凄婉的；双桅船是海上的、现代的——雾、风、双桅船、纬度构成辽阔明朗的意境，离别终有「另一个纬度相遇」的信念，情调是坚执而明亮的。雨巷之寻是「逢不着」的迷惘，双桅船之寻是「定相遇」的承诺；一属1920年代末的感伤时代，一属1980年代初的觉醒年代。二诗并读，恰见中国象征诗由古典阴柔向现代明朗的审美演进。

 祖国啊，我亲爱的祖国 O Motherland, I Love You So Deeply 舒婷 · 同作者「岸」主题的另一端，一写爱情一写家国 The other end of the same author's 'shore': love of a country and love of a lover

In 'O Motherland, I Love You So Deeply' Shu Ting pours herself into the country with a series of images — 'I am the broken old waterwheel on your riverbank', 'I am your new ideal' — and fuses the self with the motherland, while 'Two-Mast Ship' calls the shore 'my beloved shore' with the same intimacy. If the shore can stand for the country, then the parting and reunion of the ship are another way of writing the relation between the individual and the motherland: the country's suffering is the mist wetting her wings, the age urging her on is the wind that will not wait, and 'tomorrow we shall meet again at another latitude' is a prophecy of the country's new birth. The difference is how they speak: the one is a parallel of 'I am ... I am ...', hot and outward, and the other is a ship-to-shore confession, low and inward. One love of the country, one love between man and woman, and Shu Ting's 'warm and firm' soul runs through both.

舒婷《祖国啊，我亲爱的祖国》以「我是你河边上破旧的老水车」「我是你簇新的理想」等系列意象，把「我」与「祖国」熔铸为血肉相连的共同体，与《双桅船》的「岸啊，心爱的岸」形成有趣的互文：如果「岸」可以象征祖国，那么《双桅船》中船对岸的告别与重逢，正是舒婷笔下个体与祖国关系的另一种写法——祖国的苦难（破旧的老水车）如雾打湿双翼，而时代的催行（簇新的理想）如风不容迟疑，「明天我们将在另一个纬度相遇」正是对「祖国的新生」的深情预言。差异在：祖国啊以「我是……我是……」的排比自述，情感浓烈而外放；双桅船以「船—岸」的对话倾诉，情感低回而内敛。一写家国之爱，一写人间之爱，而舒婷「温婉而坚定」的诗魂贯穿其中——无论是祖国的岸还是爱人的岸，她始终怀着「另一个纬度相遇」的信念。