香港著名文學家及批評家梁秉鈞回想自己七十年代的創作過程時，提到他很早便喜歡中國現代派及「九葉派」的詩人。梁特別指出，馬朗早期作品中的抒情原素明顯受到戴望舒及何其芳等詩人的影響。然而，梁秉鈞當時似乎並不滿足於中國三、四十年代甚至乎馬朗詩中表現的抒情，而是繼續不斷的思考「怎樣去寫現代的抒情詩」這問題，因為他「不願意抒情就是傷感，就是不斷重複句子和節奏。」梁秉鈞對怎樣寫現代抒情詩這個問題，可以說是窮其一生進行實驗和思考，相信從他最後一部詩集《普羅旺斯的漢詩》的壓卷之作〈詩經練習〉中，我們可以揣摩梁秉鈞對抒情的看法。

Looking back on his course of writing in the 1970s, Leung Ping-kwan, a renowned Hong Kong literary writer and critic, mentioned that he developed a liking for many Chinese modernist and the so-called Jiu Ye Pai poets early on. And from the early work of Ma Lang (Ronald Mar), he could identify traces of influence, particularly that of lyricism, from some of these Chinese poets, including Dai Wangshu and He Qifang. However, Leung seemed not to be satisfied with the lyrical expression found in the Chinese poetry of the1930s and 1940s, nor even that from the poetry of Ma Lang. Instead, he kept revisiting the issue of ＂how to write a modern lyrical poem＂, as he ＂doesn't want lyricism to simply assume the form of sentimentalism, or merely become a repetition of sentences and rhythm.＂ It can be said that Leung has spent his whole life experimenting with and contemplating on how a modern lyric poem can be created. From the most important work ＂Shijing Lianxi＂ collected in his last poetry collection Chinese Poems from Provence, we may have a glimpse of his thought on lyricism.