公認「臺灣新詩二大詩宗」之一的瘂弦，詩歌創作生涯從民國四十二年十月起算，到民國五十四年五月停筆，只有短短不足十二年光陰，而且幾乎集中在短短四、五年內寫成，憑著嚴謹結集的一冊《深淵》六十九首詩和增訂的《瘂弦詩集》八十七首詩，竟然傲立中文詩壇五十餘年兀自長青，在海峽兩岸及國際詩界榮享崇隆聲譽，實在是中國新詩罕見的異數。本文先大略探究瘂弦詩歌的創作背景及原創情思，體驗他當年「寫詩就像擲標槍比賽」的歲月斑痕；由這些斑斑駁駁的創痕來審視他歷年在現代詩壇的比賽成果，一連串國內外新詩長空的桂冠，顯示出他詩中的精神濃度。在美國研究兩年後，更結集出《中國新詩研究》的論述，讓他的詩歌版圖更下一城，成就了一代大家的光采。文末詮解一代詩宗封筆的真相，還原他無可如何的詩夢。

Extensively acclaimed as ”one of the two greatest poets of Taiwanese New Poetry,” Ya Hsien had his creation career last less than 12 years, spanning from October, 1953 to May, 1965. Within such a short period, his two collections, Abyss and Ya Hsien Poetry Collection, helped him acquire the ever-lasting paramount reputation not just in Taiwan’s literary field but also in mainland China' and the international ones. Considering his short career, this is indeed exceptional. This essay firstly explores the context of his creation and originality, tracking and mapping out the poet's life and literary career. And then based on the results of the contextual exploration, a review on some of his poems is done in chronological order so as to unfold the poet's spiritual growth. A Study on Chinese New Poetry, the poet's production after a two-year research project in the United States, helps him cross the boundary to the critical field. The last part of the essay reveals why the poet decided to end his literary career so early.