野兽以其威猛的形象作为审美对象,往往为诗人们所重视。在中国诗人牛汉的《华南虎》、曾卓的《铁栏与火》、穆旦的《野兽》和英国诗人威廉.布莱克的《虎》以及奥地利诗人里尔克的《豹》等“野兽”诗歌中,诗人通过对“虎”、“豹”等主导意象及与之相对应的铁栏、观众意象的描绘和组合,寄寓了对社会、人生、自然的主观思考,给读者留下了无限的想象空间。由此,这种“野兽”意象的力量之美也就具有了无限的开阔性。 Beasts, with their mighty images as aesthetic objects, are often valued by poets. In the “South China Tiger” by Chinese poet Niu Han, Zeng Zhuo’s Iron Bar and Fire, Mu Dan’s Beast and the British poet William Blake’s Tiger and Austrian poet Rilke’s Leopard, Beast “, the poet embodies the subjective thinking of society, life and nature through the description and combination of the dominant images such as” tiger “,” leopard “and its corresponding iron bars and audience images , Leaving readers unlimited imagination. As a result, the power of this ”beast" image also has unlimited openness.