本文追溯了吳晟在七○年代的詩歌創作，並且藉此說明了吳晟長年以來在詩藝道路上的探索與追尋。本文認為，吳晟在1972年所發表的「吾鄉印象」系列詩作，不管從形式上或主題上來說，仍然更多地延續著現代主義文學的特徵。而吳晟「鄉土詩」風格之真正確立，則應該在「泥土篇」（1974）與「向孩子說」（1977）系列詩作之後。吳晟的文學史地位之建構，和七○年代臺灣文壇環繞對於鄉土概念的討論，彼此緊密相關。吳晟的鄉土詩完成在鄉土文學運動之前，當他以其直覺的藝術感性凝視外在鄉土，而非以意識構築詩句時，他所塑造出的才是文學史上迄今獨立的鄉土詩典範。

This paper traces Wú Chéng’s poetry in the 1970s, accounting for his attempts at poetic writing. I argue that Wú Chéng’s “Wú Xiang Yìn Xiàng”, published in 1972, retains the traits of modernist literature, no matter in terms of form or topic. His “Native Poetry” style was not established until the creation of “Ní Tu Pian” (1974) and the “Xiàng Hái Zi Shuo” (1977). Wú Chéng’ status in literature was constructed in close relation to the discussions on the concepts of “xiang tu” in the 1970s. His “Native Poetry” was written before the “Native Literature Controversy”. These works set the model of “Native Poetry” in the literature history of Taiwan, as he waved good-bye to Modernism and turned his gaze upon the life of his native soil with emotion and intuition.