石家庄学院学报

不论是中国的古诗词还是自外国传入的现代诗，分行作为显性的外部特征，一直都是构成诗歌的重要条件与标准。陈东东提出“连行诗”的这一概念冲击了大众对于诗歌秩序的认知，将诗歌文体的定义重新聚焦于内容本身。在表现方式上，“连行诗”纠正了诗歌鉴赏对于形式的过分依赖，打破了旧有的分行标准，给予诗歌新的表达自由；在审美层面，“连行诗”纠正了过分私我化的表达趋势，强调日常的主体思索与精神表达，推动了检视原则的变更；在文体本身的定义中，“连行诗”的命名引出了诗歌的独特性与情感内核，缓和了变更引发的焦虑。在各个层面的质疑之下，“连行诗”作为形式本身已具备了诗性的意义。

Whether in China's ancient poems or modern poems imported from foreign countries, line breaks,as an obvious external feature, have always been an important condition and criterion for constituting poems.Chen Dongdong's naming of the "continuous line poetry" has impacted the public's perception of the order of poetry, refocusing the definition of poetic genre on the content itself. In terms of form, continuous line poetry corrects the excessive reliance on form in the appreciation of poetry, breaks the old standard of lineation, and gives poetry new freedom of expression; in terms of aesthetics, continuous line poetry corrects the tendency of overly personalized expression, emphasizes daily subjective contemplation and spiritual expression, and pushes for a change in the principle of examination; in the definition of the genre itself, the nomenclature of continuous line poetry draws out the uniqueness of poetry and its emotional kernel, and alleviates the anxiety caused by the change of the genre. Under the questioning at all levels, "continuous line poetry" as a form itself has acquired poetic significance.