余光中在文學史中的強大聚焦力，來自他的紛雜、多樣、善變，乃至正負相激。僅舉「狼來了」事件予以全面否定，或單向地指認其色情、頹廢、虛無，固然太過簡單。僅從正面品質去加以辯護，重新鞏固其典律位置，而抹平其爭議性，似乎也有所不足。本文將試著考掘余光中詩作的抒情表現，重構其「正典化」以前的豐富面向。全文並不強為折衷，而是立基於更周全的文獻基礎，聚焦於新古典、現代性與負面性等三大主軸，對「抒情」進行較立體而深入的觀照。並綜合考量歷史、美學與意識型態等因素，重新處理與余光中相關的詩學史。對於「父的形象」、「浪子回家」、「中國意識」、「抒情傳統」等議題，俱有新的闡釋

Kwang-Chung is heavily emphasized in the history of literature due to his diversity, changeability, or even contradiction. It is inappropriate to defame him merely with the ＂crying wolf＂ incident or condemn him as sensual, decadent, and nihilistic. It also seems insufficient to defend him, reconsolidate his orthodox position, and erase the controversies surrounding him only with his positive qualities. This article attempts to explore the lyricalness in Yu Kwang-Chung's poem and reconstruct his multifariousness before he is made orthodox. It does not manage to compromise but examine his lyricalness deeply and from more sides with a focus on the three pillars neoclassicism, modernity, and negativity. It also considers the elements of history, aesthetics, and ideology and reorders the poetry studies history related to him. It has a new illustration for the issues of the father image, the prodigal son, the Chinese consciousness, and the lyrical tradition