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天上的街市·郭沫若

The Market in the Sky: The Opening Verses

郭沫若

Guo Moruo

名篇Theme 浪漫主义Theme 想象Theme 新诗New poetry

远远的街灯明了，好像闪着无数的明星。
天上的明星现了，好像点着无数的街灯。
我想那缥缈的空中，定然有美丽的街市。

Far off the street lamps are lit,
as if they flashed with numberless stars.
The stars in the sky have appeared,
as if they were numberless street lamps being lit.
I think that in the misty, fathomless air
there certainly is a beautiful market.

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Meaning

This opening passage of Guo Moruo's poem turns the lamps of a city street into stars and the stars into lamps, and out of that exchange builds a single confident claim: above the mist there must be a beautiful market. The poet does not describe the market and does not argue for it; he simply declares that it is there. Read as a beginning, the passage is the poem's whole premise — that the darkest part of the world is the best place to look for light.

远远的街灯亮了，好像闪烁着无数的明星；天上的明星出现了，好像点着无数的街灯。我想那缥缈的空中，定然有美丽的街市。

Appreciation

[Plain Paraphrase] The passage sets a mirror on its own opening: two sentences, one about lamps seen as stars and one about stars seen as lamps, and between them no difference at all except the order of the words. Then the poem takes flight from such a trivial observation, and in three more lines arrives at a city in the sky. [Structure] The first four lines are four images; the fifth turns; the sixth pronounces. The turning point is the phrase wǒ xiǎng — the only sign that anyone is speaking — and the pronouncing word is dìngrán, which answers it. [Imagery] Every image in the passage is made of light: lamps, stars, flashing, lights being lit. Because there is no colour, no weight and nothing solid in the passage, the sky can hold a market in it without strain. [Tone] The voice is the voice of a man out walking after dark who is not in the least troubled by his own invention. That casualness is what makes the faith in dìngrán moving rather than forced, and it is the reason the passage is remembered separately from the rest of the poem.

【白话串讲】郭沫若写《天上的街市》：“远远的街灯明了，好像闪着无数的明星”。“天上的明星现了，好像点着无数的街灯”——“我想那缥缈的空中，定然有美丽的街市”——“那隔着河的牛郎织女，定能够骑着牛儿来往”——他写天上的理想。【意象与手法】本诗是郭沫若《星空》时期的代表作，与《女神》的狂飙激情不同，此诗以「静谧」「柔美」见长：街灯与明星的互喻构成回环的想象链，两个「好像」、两个「了」字，句式对称而流转；「缥缈的空中」「美丽的街市」以朦胧的形容词营造梦幻氛围，节奏舒缓如夜风，是郭沫若诗风由「力」转「美」的标志。【情感与主旨】此诗写于1921年，五四退潮后的郭沫若在现实黑暗中仰望星空，以想象中的天上街市寄托对光明、自由、美好生活的向往——天上的街市越美丽，人间的现实越黯淡；「定然有」的坚定语气，正是诗人对理想社会的执着信念。【名句点睛】常考「远远的街灯明了，好像闪着无数的明星」的比喻与「我想那缥缈的空中，定然有美丽的街市」的想象：前者以街灯明星互喻写人间与天界的辉映，后者以「缥缈」「定然」的矛盾语写理想的遥不可及与坚定不移，是郭沫若浪漫想象力的典型呈现。

Background

Guo Moruo (1892–1978) was born in Leshan, Sichuan, and went to Japan in 1914; his new poetry began with the May Fourth movement of 1919, and his Goddess, published in 1921, became the most impassioned romantic collection in the history of Chinese new poetry. This poem was written in October 1921, either on his journey home or just after it, and first appeared in Starry Sky, published in 1923; Guo himself said that he wrote it one night in Tokyo, having seen the far-off street lamps and thought of the stars. The collection takes its name from Tagore's image of stars burning in the deep, and the poem belongs to that book's quieter, harder, more patient side — a where the fire of Goddess had cooled into a long look upward. The lines printed here are only the opening of the poem, which goes on to the joys of the cowherd and the weaver girl; what survives in every reader's memory is this beginning.

《天上的街市》是郭沫若（1892—1978）的诗篇，写于1921年10月，初收于诗集《星空》（1923年出版）。郭沫若1914年赴日留学，1919年五四运动爆发后开始新诗创作，1921年《女神》出版，成为新诗史上最激昂的浪漫主义诗集；同年10月，他自日本返国途中或归国后写下《天上的街市》等诗——此时五四高潮已过，新文化运动进入深化与反思阶段，现实中的军阀混战、社会黑暗使诗人的激情由《女神》式的火山喷发转为《星空》式的深沉遥望，诗集《星空》即因泰戈尔《飞鸟集》「星星在深空闪烁」之意得名。《天上的街市》是《星空》中流传最广的一首：据郭沫若自述，此诗写于他离开日本之前，某夜在东京街头看到远远的街灯，联想到天上的明星，遂成此诗。诗中「缥缈的空中」「美丽的街市」的想象，既有泰戈尔式天真的神思，又有中国民间「牛郎织女」传说的底子（全诗后文写「那隔着河的牛郎织女，定能够骑着牛儿来往」），是东西方想象在诗中的融合。此文本为全诗的开篇部分：由街灯与明星的互喻，引出「缥缈的空中，定然有美丽的街市」的想象。此时郭沫若虽已由狂飙转向沉静，但「理想主义」的底色未变——现实的黑暗愈深，天上的街市便愈美，「定然有」的信念愈坚，正是五四一代知识分子在退潮期仍坚守理想的精神写照。

Art

Three crafts are worth isolating in so few lines. First, the returning metaphor: the sentence about lamps and the sentence about stars are grammatically identical, and only the positions of the two nouns are exchanged, so the comparison runs in a closed circle. A mirror facing another mirror is the effect, and the distinction between real and imagined is quietly erased. Second, the handling of the real and the imaginary: the first four lines report things that anyone walking that street could confirm, and the fifth line admits — with wǒ xiǎng — that something new is now happening inside the speaker; the sixth then asserts that the imaginary thing exists. The poem thus moves from verifiable fact to unverifiable belief in three steps and never disguises the step. Third, the choice of words for softness: yuǎnyuǎnde, wúshùde, piāomiǎode, měilìde — a long chain of light qualifiers, and not one strong verb or heavy noun anywhere. The restraint keeps the poem to a whisper, and the whisper is what makes the certainty in dìngrán sound like something the poet has earned.

此段的艺术特色，可析为「回环的比喻、虚实相生的章法、舒缓的节奏」三端。其一，回环的比喻：首两句以互喻织成回环——「远远的街灯明了，好像闪着无数的明星」以明星喻街灯，「天上的明星现了，好像点着无数的街灯」以街灯喻明星，街灯与明星、人间与天上互为喻体与本体，循环往复，如镜中镜、梦中梦，把现实与想象的界限轻轻抹去；「明了」「现了」两个「了」字相呼应，如灯光星光的次第点亮，画面由近及远、由地及天，自然地完成了空间的飞跃。其二，虚实相生的章法：前四句写实（街灯、明星）而实中有虚（互喻已含想象），第五句「我想那缥缈的空中」由实入虚、以「我想」领起想象，「定然有美丽的街市」以判断句肯定想象的实有——「缥缈」言其虚、「定然」言其信，虚实之间张力自生：正因为是「缥缈的空中」，才更需要「定然有」的信念来支撑。其三，舒缓的节奏与柔美的语言：「远远的」「无数的」「缥缈的」「美丽的」等定语层层铺展，如夜风徐来；「明了」「现了」「我想」「定然」等词平实自然，全段无一激烈之辞，与《女神》的「光芒万丈」判然有别——这正是《星空》时期郭沫若「由力转美」的诗风转变，也是此诗在郭沫若创作中独标一格的原因。

Allusions

The passage stands in a long line of Chinese writing about lights in the sky. The exchange of lamps and stars continues the ancient habit of comparing the two — Xie Zhuang's rhymed prose on the moon speaks of the constellations and the river of stars being outshone, Xin Qiji's famous line about a thousand trees in blossom blown by the east wind has the flowers of a night festival fall like a shower of stars, and Li Bai's doubt whether the Milky Way has fallen from the sky treats the same confusion of light above and below. What is new in Guo is the setting: the lamp of the modern city is an electric light, not an oil lamp or a lantern, and it is that specifically modern object that lets the comparison run both ways with such ease. The market in the sky has its own ancestry too — the constellation called the Enclosed Market Wall, the markets of Buddhist paradise, and the final stanzas of this very poem, where the cowherd and the weaver girl stroll through the sky street with lanterns in hand. And piāomiǎo recalls the misty islands and the vague mountains of the White-Haired Lady's song, the classical Chinese way of saying that a beautiful place is beautiful precisely because it cannot be reached.

此段的意象与想象，植根于深厚的文化与文学传统。其一，街灯与明星的互喻传统：以灯喻星、以星喻灯，古已有之——谢庄《月赋》「列宿掩缛，长河韬映」，辛弃疾《青玉案》「东风夜放花千树，更吹落、星如雨」即以烟火星雨互喻，李白「疑是银河落九天」亦以银河喻飞瀑；郭沫若以「街灯—明星」互喻，是这一「星灯互喻」传统在现代都市语境中的更新——古代的灯是烛火灯笼，现代的是电灯街灯，「街灯」一词本身就带着工业文明的新气息，诗人的想象在古典意象与现代景观之间架起了桥梁。其二，天空市廛的想象传统：中国民间传说中天上有市（「天市垣」为紫微垣外的星官名，《晋书·天文志》「天市垣二十二星……主权衡，主聚众」），佛经亦言「忉利天」有市易，陶渊明「迢迢新秋夕，亭亭月将圆」的仰望，皆含「天上有街市」的想象基因；郭沫若「缥缈的空中，定然有美丽的街市」承此传统而更具体化——后文写牛郎织女「骑着牛儿来往」「在天街闲游」，把神话人物的日常生活化，正是「天上人间化」的浪漫想象。其三，「缥缈」一词的诗学渊源：白居易《长恨歌》「忽闻海上有仙山，山在虚无缥缈间」以「缥缈」写仙境之远，郭沫若以「缥缈的空中」写天上街市之虚，一词承唐人的仙境想象而赋以现代人的仰望——「缥缈」愈虚，理想愈高，恰是「可望而不可即」的审美化表达。

Commentary

The Market in the Sky is the best-known poem of Guo's Starry Sky period and has been in school anthologies for a century, and its fame rests on three things. First, it is a specimen of a change in his style: where Goddess shouts, this poems whispers; the same poet, within a year, moved from the force of 'a thousand li of light' to the beauty of a far-off lamp, and readers continue to argue about which poem is the better one precisely because both are his at once. Second, its faith is a document of its time: written in October 1921, in the ebb after the May Fourth movement, when the country was still being cut apart by warlords and the poets' own promises hung in the air, the stubborn dìngrán of this poem is the record of a generation refusing to give up an ideal in public. Third, its influence is measurable in the simplest way: the phrase 'the market in the sky' has passed out of the poem into ordinary Chinese, where it is used to mean any beautiful impossible place, and several generations of readers learned the words piāomiǎo and dìngrán from these lines. As a transition piece between the roaring Goddess and the later, quieter work, it has an unusually clear position in the history of Chinese new poetry.

《天上的街市》是郭沫若《星空》时期最负盛名的诗篇，长期入选中学语文教材，其价值可从三方面论之。其一，郭沫若诗风转变的标本意义：此诗与《女神》的《太阳礼赞》《天狗》等形成鲜明对照——《太阳礼赞》以「光芒万丈地」呐喊，此诗以「远远的街灯明了」低语；《女神》是狂飙的、喷发的，此诗是静谧的、幻美的。同一诗人在一年之间由「力」转「美」，正见五四高潮与退潮的时代落差，也见出郭沫若诗歌风格的多元——闻一多、朱自清等评《女神》「是时代的肖子」，而《天上的街市》则以另一种笔调证明郭沫若驾驭不同诗风的能力，其「街灯—明星」的回环比喻更成为中国新诗比喻艺术的经典范例。其二，理想主义的精神价值：此诗写于现实的黑暗中，却以「定然有美丽的街市」的坚定信念仰望天空——天上街市的美好与人间现实的黑暗形成对比，理想主义的底色在此最为纯粹；这一「在黑暗中仰望光明」的精神姿态，影响了几代中国读者，也是《天上的街市》历久不衰的根本原因。其三，文学史与文化影响：此诗以清新柔美的风格、平易晓畅的语言（「远远的」「好像」「定然」）进入教材，成为几代人共同的诗歌记忆；「天上的街市」一词更成为「理想世界」「美好想象」的代名词，被广泛引用。此外，此诗作为郭沫若由《女神》的呐喊转向《星空》的遥望的过渡之作，在中国新诗从「激情期」走向「沉淀期」的历程中，具有承上启下的地位。

Prosody

Form Modern free verse in the soft, romantic manner of Guo's Starry Sky period现代自由诗（郭沫若《星空》时期的柔美浪漫诗风）

Rhyme Not rhymed in the traditional sense, but the passage is saturated with rhyming vowels: míng, xīng, dēng, kōng, shì all come from the nasal endings, so the ear hears a chain of soft, humming sounds rather than a scheme of rhymes. The repeated le and hǎoxiàng tie the lines together rhythmically, and the two instances of dìngrán close the passage with the same open vowel.本段为自由诗，大体不押韵，而以「明」「星」「灯」「空」「市」等韵母的圆转呼应构成内在音韵：「明」（ing）与「星」（ing）同韵相押，「灯」（eng）与「空」（ong）近韵相谐，前呼后应，如夜风的回响；「明了」「现了」「好像」「定然」等词的重现，形成复沓的节奏，读来轻柔悠远。

Tone pattern The lines are even and unhurried: the first four are built on the same four-beat pattern, so they read like two lines that have been said twice; the last line lengthens and slackens, turning from reporting to thinking. The whole reading should be quiet and a little slow, as if spoken out of a window at night.句式齐整而流转：前四句以「……了，好像……」的同构句式两两相对，节拍匀称，如灯光星光次第点亮；末句「我想那缥缈的空中，定然有美丽的街市」以长句舒缓收束，由对而散、由景入思。语调轻柔徐缓，如夜中独步、仰望星空，正合「缥缈」的梦幻氛围。

Reading note The music of this passage is entirely internal. There is no rhyme, but every important word ends in a nasal — ming, xing, deng, kong, shi — so the sound of the poem hums in the nose rather than ringing on a vowel, and the effect is a night air rather than a bells. The two opening sentences share their rhythm exactly and differ only in which of the two lights comes first, which is the rhyme scheme that matters here: a rhyme of the words themselves and of the two halves of the comparison. Then the last line breaks that shape, lengthens, and ends on the open sounds of 'air' and 'market.' Read aloud, let the first four lines breathe as one phrase repeated, and let the last line trail off, so that the poem ends before the reader does.此诗的音乐性，是《星空》时期郭沫若「由力转美」的集中体现：与《女神》的「光芒万丈地，将要出现了哟」的呐喊不同，此诗以「远远的」「好像」「缥缈的」等轻柔的词语与舒缓的节奏，营造出如夜风般的音韵。全段凡五句，前四句以「明了」「现了」「好像」重复构成的同构句式，形成「街灯—明星—明星—街灯」的回环节拍，如钟摆般匀称而宁静——「远远的街灯明了，好像闪着无数的明星」与「天上的明星现了，好像点着无数的街灯」两句，字数相若、结构相同、韵脚相应（明、星、灯、星、灯），读来如两段互为回声的旋律，这正是互喻的修辞在音韵上的投影：比喻的回环与音节的回环完全同构。末句「我想那缥缈的空中，定然有美丽的街市」转为散句，句幅舒展，语调由齐整的「叙述」转为悠长的「冥想」，「空中」的「空」与「街市」的「市」以开口音收束，如夜风过后的余响。全段以「明」「星」「灯」等鼻音韵母为韵心，声音柔和绵长，与「缥缈」「美丽」的意境相谐；复沓的句式则模拟了诗人边走边望、边望边想的节奏——先看街灯，再看明星，再看星空，思绪如夜风般徐徐展开。这种「以复沓写遥望、以韵母写夜空」的音乐设计，使此诗成为新诗中「静谧美」的典范，也证明自由诗完全可以在不押韵的情况下，通过句式与声调的调度获得高度的音乐性——这正是郭沫若在《星空》时期为新诗语言作出的贡献。

Line by line

远远的街灯明了，好像闪着无数的明星。

Far off the street lamps are lit, as if they flashed with numberless stars.

远远的街灯亮起来了，那灯光好像闪烁着无数的明星一样璀璨。

The distant street lamps are lit, twinkling like countless bright stars.

首句以街灯起笔，是全诗想象的起点，也定下静谧柔美的基调。「远远的」写距离——街灯在远处，灯光被夜色滤得柔和，这正是触发想象的契机：远望的灯光模糊了轮廓，才可能与星光混淆；「街灯明了」写灯亮的瞬间——「明了」二字平实而亲切，如夜幕降临、华灯初上，一个「了」字带出时序的完成，画面由暗转明。「好像闪着无数的明星」以明星喻街灯——「好像」是想象的标记，把「联想」化为「比喻」；「闪着」写灯光的闪烁，如星光的明灭；「无数的明星」以星之多写灯之繁，远远望去，街灯如银河倒映人间。此句的深意在于「人间的星光」：街灯是工业文明的产物，明星是自然天象，诗人以星喻灯，正是把现代的都市景观诗化——人间亦有星光，这是郭沫若对现代生活的浪漫凝视，也为下句「天上的明星现了，好像点着无数的街灯」的翻转预伏了机关：既然街灯如星，何妨明星如灯？想象的循环就此启动。

The lamps. The distant street lamps are lit, twinkling like countless bright stars. The lit lamps as twinkling stars are the opening. To have lit the lamps would be a lighting; the the-distant-street-lamps-are-lit-twinkling-like-countless-bright-stars is the lighting.

天上的明星现了，好像点着无数的街灯。

The stars in the sky have appeared, as if they were numberless street lamps being lit.

天上的明星出现了，那星光好像被点亮的无数街灯一样，明亮而带着人间的气息。

The bright stars above appear, as though countless lamps were lit.

次句以明星承转，与首句构成回环的互喻，是全诗想象力的核心展示。「天上的明星现了」写星的出现——「现了」与首句「明了」呼应，一灯一星，一明一现，如对偶般工整；「好像点着无数的街灯」以街灯喻明星——「点着」二字极妙，把星星的闪烁写成像有人一盏一盏地点亮街灯，「点」字赋予星辰以人间烟火的气息，天上不再是遥远冰冷的穹苍，而成了有人经营的市街。两句合观，互喻的循环已完成：街灯像明星，明星像街灯，人间与天上互为镜像，现实与想象彼此渗透——这正是郭沫若此诗想象力的独特之处：他不像古典诗人那样仰望星空而生敬畏（张若虚「皎皎空中孤月轮」），而是把天空「人间化」，让星空变成可以闲游的街市。此句的深层意蕴在于「以人观天」：把天上的星当作人间的灯，是把宇宙纳入人伦秩序的浪漫主义想象，也是五四时期「人的觉醒」在自然观上的体现——天不再是神权的象征，而是人可以想象、可以神往的美丽街市。

The stars. The bright stars above appear, as though countless lamps were lit. The appeared stars as lamps lit are the reverse. To have appeared would be an appearing; the the-bright-stars-above-appear-as-though-countless-lamps-were-lit is the appearing.

我想那缥缈的空中，定然有美丽的街市。

I think that in the misty, fathomless air there certainly is a beautiful market.

我想那缥缈隐约的天空之中，定然有一座美丽的街市存在，那里明亮而美好。

I think in that ethereal sky there must be a beautiful market.

末句由写实转入想象，是全诗由「看」到「想」的飞跃，也是主旨的揭示。「我想那缥缈的空中」以「我想」领起，明确标出想象的开始——前两句还是「好像」（比喻性的联想），此句则以「我想」直接进入想象的世界，由实入虚；「缥缈的空中」写天空的遥远隐约——「缥缈」本白居易《长恨歌》「山在虚无缥缈间」的仙境用语，此处写天空之高远、街市之难觅，一个词为全诗染上梦幻的色彩。「定然有美丽的街市」以「定然」收束——「定然」是断然肯定的语气副词，与「缥缈」的虚构成了奇妙的张力：越是缥缈难寻，越要坚定相信；「美丽的街市」是想象的内容，也是理想的象征。此句的深意在于「信念」：天上街市之美，恰衬人间现实之暗——五四退潮后，现实的黑暗愈深，诗人对理想世界的信念愈坚，「定然有」三字不是事实的判断，而是信念的宣言，正如全诗后文写牛郎织女「定能够骑着牛儿来往」的「定能够」——在天上，连悲欢离合的神话也能改写为美满的生活，这正是诗人在人间寄不下的理想，全部托付给了那「缥缈的空中」。

The market. I think in that ethereal sky there must be a beautiful market. The ethereal-sky and the surely-beautiful-market are the close. To have thought the market would be a thinking; the i-think-in-that-ethereal-sky-there-must-be-a-beautiful-market is the thinking.

Study

Word focus

好像 'Far off the street lamps are lit, hǎoxiàng they flashed with numberless stars' — hǎoxiàng ('as if, seem to') is the hinge of the whole passage. It is what allows the poet to compare lamps with stars without claiming either, and because it appears twice, in both directions, the comparison becomes a loop. Removing hǎoxiàng would turn the poem from an act of imagination into a claim about astronomy, and the poem would lose exactly the quality that makes it lovely. 「好像闪着无数的明星」「好像点着无数的街灯」之「好像」是此诗想象的语法标记，两见而构成回环。「好像」本为表示相似、推测的连词，郭沫若以之连接街灯与明星、明星与街灯，使「相似」成为「互喻」的枢纽——不是单向的以星喻灯，而是双向的循环往复，仿佛与相似之间，现实与想象相互渗透。「好像」一词的选择极具匠心：若用「如同」「仿佛」，则偏于辞藻的典雅；「好像」是口语化的词，平易亲切，恰合此诗「如话家常」的柔美基调，也正见郭沫若《星空》时期返璞归真的语言追求。更重要的是，「好像」的模糊性正是想象的催化剂——「好像」不是「就是」，正因为「像」而不「是」，想象才有驰骋的空间：街灯像星，星像街灯，那么天上是不是真有一座街市呢？「好像」的似与不似之间，藏着通往「定然有」的信念的桥梁，也藏着诗歌由写实通向想象的秘密。一词两用，首尾相衔，此诗的想象力正是由这看似平淡的「好像」二字启动的。

缥缈 'The piāomiǎo air' — piāomiǎo keeps the imagined sky at the right distance: not absent, but not at hand. It is the classical word for the vague, floating beauty that cannot be touched, inherited from the Tang poets' description of the fairy mountains far out at sea. Its function here is to make dìngrán necessary; a market in a sky that is crystal clear would be so much less moving than a market in a sky that is only half there. 「我想那缥缈的空中」之「缥缈」是全诗由实入虚的关键词，也是理想之境的审美符号。「缥缈」本义为高远隐约、若隐若现，白居易《长恨歌》「忽闻海上有仙山，山在虚无缥缈间」以之写蓬莱仙境之远，此后「缥缈」成为中国文学中「仙境」「理想」「可望而不可即」的经典形容词——李商隐「蓬山此去无多路」的怅惘、苏轼「起舞弄清影，何似在人间」的徘徊，皆与「缥缈」的意境相通。郭沫若以「缥缈的空中」写天上的街市，一词兼含三重意味：其一，空间之高远——天空在缥缈的极处，街市在凡人目力不及之处；其二，存在之隐约——缥缈即若隐若现，街市的存在悬于信与不信之间；其三，理想之珍贵——唯其缥缈，方显高洁，正如仙境不落凡尘。此词与下句「定然有」的坚定形成「虚—实」对照：缥缈是客观的远，定然是主观的信，诗人以主观的信念战胜客观的遥远——这正是理想主义的诗学表达，也是「缥缈」一词在古典诗境与现代诗境中的完美衔接。

定然 'There dìngrán is a beautiful market' — dìngrán ('certainly') states as fact something the reader knows to be invented. That contradiction is the poem's heartbeat: the sky is misty and unreal, yet the market certainly exists. Every reading of this line is an act of faith by the poet, and the poem asks the reader to make the same act, which is why a poem of six lines about lamps can still move someone who has never believed in anything. 「定然有美丽的街市」之「定然」是全诗信念的支柱，也是此诗区别于一般想象诗的关键词。「定然」义为必定、一定，是语气最强的肯定副词之一，郭沫若以「定然有」写天上街市的存在，不是推测（或许有）、不是希望（希望有），而是斩钉截铁的断定（定然有）——这断定的对象却是「缥缈的空中」的幻境，虚与实、信与疑的张力由此达到顶点。此词的深意有三：其一，信念的宣言——五四退潮后的现实充满黑暗，诗人却以「定然」断定理想的实有，正是「在黑暗中仰望光明」的精神姿态，与《女神》「我赞美这自我表现的全宇宙的本体」的自我确信一脉相承；其二，想象的完成——前文「好像」是比喻的推测，「我想」是想象的开始，「定然有」则是想象的定案，由「好像」而「我想」而「定然」，语气的递进正是诗人由联想走向信念的心理轨迹；其三，神话的改写——后文「那隔着河的牛郎织女，定能够骑着牛儿来往」的「定能够」与「定然」呼应，把神话的悲剧改写为美满，天上的街市因此不仅是幻境，更是诗人心中「应当如此」的理想秩序——「定然」二字，是理想主义者对世界最坚定的回答。