在1960 世代詩人群中，致力於建構與實踐現代詩自然美學的羅任玲（1963-），無疑是個值得關注的例子。2004 年，她完成臺灣現代詩自然美學的重要論著《臺灣現代詩自然美學：以楊牧、鄭愁予、周夢蝶為中心》。2012年，以詩集《一整座海洋的靜寂》進一步完成相應的美學實踐。文中，我們透過對其自然美學的研究，概括出「現實關懷」、「微觀萬物」、「凝思寫作」三個關切的面向。而後藉由詩作的分析，得出羅任玲喜以自然的視角，深切省思人類文明中的迷霧和醜陋。她不喜於駕馭宏觀的題材，偏好從日常生活的微觀帶出沈靜和女性的反思。她嘗試傾聽自然與內心激盪而出的「寧靜之聲」，與詩人和其他領域的創作者對話，同時深切表明了好的創作者，正是能從種種自然表象獲取生命哲思者

Of all poets in the 1960s, Lo Jen-Ling (1963-) is undoubtedly a notable example. In 2004, she completed an important masterpiece on the natural aesthetics of modern poetry in Taiwan, titled ＂Natural Aesthetics of Modern Poetry in Taiwan: With Yang Mu, Cheng Chou-Yu, and Chou Meng-Tieh as the Center＂. In 2012, she further completed the implementation of corresponding aesthetics in the poetry collection ＂Serenity of a Whole Ocean＂. In the text, through the research on the natural aesthetics, three important dimensions were summarized, namely, ＂concern for reality＂, ＂microscopic things＂, and ＂meditative writing＂. The subsequent analysis of the poetry shows that Lo Jen-Ling prefers reflecting on the mist and ugliness of human civilization from the perspective of nature, while exerting controlling over macroscopic themes was less favored. She prefers bringing out the serenity and reflecting on the microscopic things in daily life from a woman's perspective, attempting to listen to the ＂voices of serenity＂ that come from nature and from within, having dialogues with poets and creators from other fields, and expressing that a good creator is one that can acquire the philosophy of life from all sorts of manifestations in nature