時代和命運使汪啟疆必須既陸又海、既家又船、既剛又柔、既實又幻、既穩固又波湧、既想安定又永不能安定。他長期所處或者所選擇的海疆的邊緣位置，其實接近詩的位置，因此豐富的海上經驗成了他汲取不盡的寶庫。他的身體被動地因海軍生涯的因素，既因國家紀律受控、又心靈遊牧而不受控地處於不確定的生命狀態，離詩心其實不遠。那是一種想在狼群中自築狐穴、在石頭中找到閃電的心態。是一種不甘，在困頓中尋求安頓的企圖。本文由狼與狐不同習性的觀點切入，以拉康三域、左右腦及熱力學的科學觀詮解汪啟疆詩中視野與情感的變化。其後來的書寫不再像早年對戰爭武器的直接控訴，而是透過它與天地的不協調加以呈露。新世紀以來他大量海上及岸上的書寫，逐漸走上空掉自我、與萬物同生一體感，使其詩前後期有了不同的視野和美感，為新詩在海洋文學鑲上了一段彌足珍貴的風景

Age and fate made Wang Kai-Jiang to be both land and sea, both at home and on board, both rigid and flexible, both real and unreal, both solid and surge, both wishing to settle and can never be settled. He has long been located or has chosen the position close to the edge of the waters, and it is, in fact, close to the position of poetry, and such rich maritime experience became his endless treasure. Due tohis naval career, he was controlled by the nation's discipline, but his nomadic soul was not controlled, which is in an indeterminate state of life, and which is in fact, not far from the poetic heart. This is like trying to build a fox den among a pack of wolves, or like finding the mentality of lightning in a stone. In this paper, starting from different habits and views of wolf and fox, I will use the three-domain of Lacan, left and right brain, and thermodynamics to explain the changes in Wang's poems, about his vision and emotions. His later writing no longer complains about weapons of war, but presenting the world's inconsistency through it. Since the new century, his writing gradually gets rid of the selfhood, and generates confusion with everything. His later works have a different perspective, but it also created some precious landscapes for marine literatures