傳統詩歌，學者區分為關注「群體共同價值」及關注「個體存在價值」之創作意向的兩種實踐型態。就詩之篇幅而言，詩經、楚辭、樂府、古詩之「言志」傳統，其長度遠遠勝過「緣情」走向之唐詩、宋詞、元曲；曲之散曲抒發個人情緒，屬「緣情」之作，可歸類為短小家族，劇曲鋪排眾人遭遇、家族興衰，類近於「言志」詩之篇幅，屬於中等篇章。是以「言志」之詩比起「緣情」之作，篇幅為長。本文則論述擅長敘事詩的現代詩人焦桐（葉振富，1956-），在中長篇之外，他的小詩如何蘊藏敘事能耐，如何發展五行中的「木質」特性，在有限的行句中繼續推進或演展本事，如「木」一般持續成長，預留給讀者更多的想像空間，研發出新情節，進而結合了「群體共同價值」與「個體存在價值」之相互影響，達成相乘效果。

The traditional poems which be focused on the creational intention in the collaborative evaluation of group and the individual exist worth are composed of two practical styles by scholar. For the length of poem, the poetics of aspiration in Shijing, Chu Ci, Yue Fu, Chinese Poetic are superior in emotional poetics that contain Tang Poetry, the Lyrics of Sung Dynasty and Yuan Qu. The Single Songs that express feeling belong to the poetics of emotion which could be classified the Versicle. The Operatic Songs are similar to aspiration poems, which arranged for personal and family lives are sorted to the middle-sized writings. Therefore, the sections in aspiration poems are longer than the emotional one. The poetry, Jiao Tong (Yeh chen fu, 1956-), who are exported in narrative poems will be elaborated in this thesis. Jiao Tong’s versicle represents his narrative power and the envelopment wood attribute in the Five Elements. Extending in the infinite sentence group as the wood's growth, the versicle of Jiao Tong not only gives readers imagination but also creates new plot, and combines the attraction with the group collaborative evaluation and the individual exist worth to achieve the interaction.