This article discusses the surface and the content of modern lyric poetry and examines the blending and infiltration of its various expressions. In contrast to past studies on Ya Hsien's poetry that have paid more attention to its dramaticism, this article decisively focuses on its lyricalness to expound its dramatic devices and narrative elements. Specifically speaking, this article firstly searches for the most fundamental "aria type lyric device" to observe how he forms his initial style by blending the tradition of Chinese new poetry with the grammar and sensibility of Western translated poetry. It then observes the following three advanced lyric devices: the confiding type lyric device, the transposing type lyric device, and the distancing type lyric device. The confiding type lyric device is to arrange obvious "I-you" structures in the poem when taking the subject as the topic. The transposing type lyric device is to use loose dramatic monologue and the techniques of mimicking and attitudinizing to shuttle between the self and others and leave the subject dubitable. The distancing type lyric device is to deliberately keep aloof with a third person's viewpoint. It seems an observation with a cold eye but actually contains implied messages