西元2005年05月14日
The Saturday Review (1899) on Wessex Poems
But as we read this curious and wearisom volume, these many slovenly, slipshod, uncouth verses, stilted in sentiment, poorly conceived and worse wrought, our respect lessens to vanishing-point, and we lay it down with the feeling strong upon us that Mr Hardy has, by his own deliberate act, discredited that judgement and presentation of life on which his reputation rested. It is impossible to understand why the bulk of this volume was published at all - why he did not himself burn the verse, lest it should fall into the hands of the indiscreet literary executor, and mar his fame when he was dead.
Last of all comes a veritable poem, 'I Look Into My Glass'. It is an original thought realised and felt completely; and the expression is so clear and simple, that it will surely live when the rest of the book has been forgotten...
Unsigned review in The Saturday Review (7 January 1899), LXXXVII, 19.
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徐志摩與英國文學
毛迅：《徐志摩論稿》，成都，四川大學出版社，一九九一年，頁三四至三五。
從歷時的概念來講，徐志摩對英國文學的接收恰恰是沿著英國文學史的發展順序來完成的……。這就是說，徐志摩用了十來年的時光，按次走完了英國文學（自浪漫派到頹廢派）兩百年左右的歷史。浪漫派詩人給予徐志摩的刺激主要是樂觀的、外向的，它使徐志摩的目光朝向了自身以外的現實世界──山、水、花、鳥、人、對現實的批判、事物的運動、各種美等。維多利亞詩人們則把徐拉進了自身以內的心靈世界，使其開始注重個人情感的表現。而世紀末以後的英國作家，特別是王爾德與哈代，又在維多利亞詩人的基礎上，給他的詩風注入了頹喪絕望的悲涼成分。
徐志摩的悲觀
毛迅：《徐志摩論稿》，成都，四川大學出版社，一九九一年，頁三四至三五。
徐志摩的悲劇絕不僅僅是齣性格悲劇，它的發生是有相當特殊的現實原因的，這就是：西方資產階級人道主義理想在現代中國的決定性失敗；正是由於人道理想與中國現實的嚴重脫節才使徐志摩轉向了悲觀主義。這即是說，並非他天性傾向悲觀，而是西方世紀末的悲觀情緒適應了一個無路可尋者的現實需求。
事實上，這不是徐志摩一個人的悲劇，而是整整一代人、一段歷史的悲劇。所以茅盾在談及這個問題時客觀地指出：「志摩的懷疑，也是社會現象。近年來的學者誰不被懷疑的毒蛇咬著心呀？只不過志摩是坦白的天真的熱情的，所以肯放聲大叫罷了！」（〈徐志摩論〉）