筆者嘗試在現代詩語言的多變現象中，提出「變形詩學」觀念，以疏解系列特別被視為「晦澀難懂」的詩。「變形」，有形相的「變」、句法的「變」，更難的是觀念之「變」，各人創出了一種「體格」，共同織出百年漢語新詩在語言上瑰麗的風景。文章進一步追源「變形詩學」的本質，它是古典文言經歷白話之變的必然過程。接續葉維廉中西語法的比較詩學、法國程抱一的唐詩字思維閱讀、美國高友工抒情傳統的分析，或者波特萊爾的象徵詩句、西洋分析辯解力強的文法，我們該如何看待一首現代詩文字，來自傳統漢語或西歐詩學所感染的訊息？作為一種新的品鑑角度，「變形詩學」最後觸及一項「存在真相」的問題，外貌形相之變，慣常語法觀念之變，才更反映出詩人存在於一個難被理解、內外有隔的世界。在這貌似逃避或保衛、鑄造着奇怪語言的領域裏，這些敏感的詩心，也許如此才可以在紛亂的文化撞擊中，延續一種更逼真的「情」？「抒情傳統」要繞一個大彎才接上。

In the changeable languages of modern poetry, "deformed poetics" is proposed, by the author, to explain series of poems considered "difficult to understand". "Deformation" contains the "change" of configuration, the "change" of syntax, and the "change" of concept, the most difficult part. This article gives all the details of the three variations with representative poets. Each of them created a "style"; and they collaboratively knit the sight for the goods on the languages of Chinese new poems in the century.Furthermore, this article affiliates the "deformed poetics" to its essence as the necessary process of the classical literary experiencing the colloquial change. Following the comparative poetics between Chinese and western syntax of Yeh Wei-lien, Tang poetry words mind-reading of François Cheng, lyrical tradition analyses of Kao Yu-kung, or symbolic verses of Baudelaire, and the occident grammar with strong analyses and explanations, how shall the message, from traditional Chinese or western European poetics, of the words in a modern poem be looked upon?Being a new aspect of review, "deformed poetics" finally touches the problem of "existence truth". The changes of appearance and common syntax concept further reflect a difficult and separate world. In such a domain where strange languages seem to be escaped, protected, and created, these sensitive poetic minds might be able to continue a more vivid "emotion" among involute culture shocks. "Lyrical tradition" also requires a big circle to be connected up.