诗的文字很简易，但初读的确不知所云。很明显，诗人故意言不及“义”，这样问题就集中在“义”上了。Guller解释说，难解的问题当然不在字面意义，面在语言迷雾下的“the other”，常常取决于“contrasts,”“differences”(也就是Derrida所谓的“differance”)。读者可以将“we”看作“你、我、他”，也可以将“we”看作人类；可以将“secret”看作一个神祇或一般的神秘之谜，也可将它看作生死之奥秘、宇宙之奥秘。因此这首诗可以解读为人们的日常行为，同时也可以解读为：诗人在冥思人类主体与宇宙客体在疑忌的烟云萦绕中漫舞对峙。Culler解释说：
The meaning of a work is not what the author had in mind at some point, not is it simply a property of the text or the experience of a reader. Meaning is an inescapable notion because it is not something simple or simply determined. It is simultaneously an experience of a subject and a property of a text. It is both what we understand and what in the text we try to understand. Arguments about meaning are always possible, and in that sense meaning is undecided, always to be decided, subject to decisions which are never irrevocable.
If we must adopt some overall principle or formula, we might say that meaning is determined by context, since context includes rules of language, the situation of the author and the reader, and anything else that might conceivably be relevant. But if we say that meaning is contextbound, then we must add that context is boundless: there is no determining in advance what might count as relevant, what enlarging
of context might be able to shift what we regard as the meaning of a text. Meaning is context-bound, but context is boundless.
Culler 说文本的上下文实际上是处在一个无边无际的语言系统中——它既是微观的(变化的），又是宏观的（无限的）。这正是海德格尔说的：
Thinking's saying would be stilled in
its being only by becoming unable to
say that which must remain unspoken.
Such inability would bring thinking
face to face with its matter.
What is spoken is never, and in no
language, what is said.
这就牵涉到文本的初始之源——作者、作者的思想。因此文本与作者（客体的另一个组成要素）总是紧紧地联系在一起的。
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