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郭沫若爱情诗是我国新诗史上最早的情诗。它冲破了中国传统男性情诗的“忆内”，“寄内”或曲喻隐指的狭隘范畴，结束了抒情主体与抒情形象长期背离，即所谓“男子作闺音”的审美趋向，而代之以坦率地告白发情。大胆地追求爱情，直率地抒写爱情的欢乐与幸福，终于确立男性情诗在情诗中应有的位置，这与五四时期中西文化的交汇，爱情伦理观念的开放和改变是分不开的。但由于郭沫若的个性气质及其所受泛神论和19世纪欧美浪漫主义诗歌的影响较大，其情诗热情奔放有余，蕴藉深沉不足，这不能不说是美中不足之处。
Guo Moruo’s love poems are the earliest love poems in the history of Chinese new poetry. It breaks through the narrow category of “recapitulation”, “sending in” or allegorical implication in Chinese traditional male love poems, terminating the long-term departure from the main body of the lyric image and the lyrical image, that is, the so-called aesthetic tendency of “man as a boudoir” To confess the estrus frankly. Bold pursuit of love and straightforward expression of the joy and happiness of love finally establish the due position of male love poems in love poetry. This is inseparable from the confluence of Chinese and Western cultures during the May 4th Movement and the opening up and change of the concept of love ethics. However, because of his personality and the plight of Pantheism and the nineteenth-century romantic poetry in Europe and the United States, Guo Mo-jo’s enthusiasm and enthusiasm are full of enthusiasm and deep connotation. This can not but be regarded as a flaw in the United States.