在文學的創造與演變的過程中，晚出作家難免自覺或不自覺受到先行者的影響，因為文學創作的沿襲與變革，才使文學史的討論得以可能，而文學創作所因襲和變革的就是「典律」或「典範」。一個具有「典範」效應的作家不但會引發文體的革變，也可能在風格、題材、主題上在當代引起晚出作家的仿效。在臺灣詩壇中，就有如此現象，許多詩人將楊牧視為「典範」，習其古典的語法與意象，模仿其音調節奏，追隨其悠悠的韻致，試圖無限接近共同的美學目標。楊佳嫻是有自覺地追隨先行詩人楊牧的腳步，其詩語言的敘述鋪陳，也跟楊牧極為類似。本文以此兩位詩人作品中以「時間」為主題的作品進行析論，冀希能分析楊佳嫻作品在「典範效應」現象中受楊牧的影響及其漣漪效果

In the process of literary creation and transformation, the newly risen writers were inevitably influenced by the predecessors either consciously or unconsciously. The inheritance and changes of literary creation enabled the literary history to be discussed. What literary inherited and changed was ＂canon＂ or ＂paragon.＂ A writer able to cause paragon effect not only called for changes of genre, but also the newly risen writers' imitation of style, subject and topic. This phenomenon existed in Taiwanese poetry. Many poet regarded Yang Mu as ＂paragon,＂ and imitate his classical syntax, image and rhythm to follow his carefree and leisurable style, trying to approach the aesthetic goal as much as possible. Yang Chia-hsien was following the predecessor consciously. The syntax of her poetry was very similar to Yang Mu. This study analyze and discuss the two poets' writing works related to ＂time,＂ hoping to observe Yang Mu's influence and the dimple effect on Yang Chia-hsien's writing works as paragon effect