中國文學史對南朝文學集團盛行之應制、酬酢等作品，往往具有一種成見，認為其「以文為戲」而缺乏「個人情志」。在此一觀看視角下，如建除詩、數名詩、郡縣名詩、藥名詩等體裁更被單向視為只具「遊戲」功能，不具備擲地有聲的深刻意蘊。本文擬探究之南朝四首〈建除詩〉即是此一傳統詩學框架下長期被忽略的體裁詩作。建除體須鑲嵌「建、除、滿、平、定、執、破、危、成、收、開、閉」十二字入隔句詩首，歷來對此一體裁評價不高，及至當今學界，亦多半均由「遊戲」視角加以詮釋，甚少深掘其中蘊藏的內涵與思想。筆者針對此四首南朝〈建除詩〉詳推細究，分別是鮑照、范雲、蕭詧、沈炯所作。發現此四首作品絕非只是以嵌字為能事的「遊戲之作」，而是有其寄寓之「心事」隱藏在內。鮑照〈建除詩〉表現其青年時期企盼建功立業的嚮往；范雲〈建除詩〉則呈現其處身險惡政治情境中，保性全真的進退之道；蕭詧藉〈建除詩〉抒發其建國之初，立業興邦的壯志；而沈炯則在〈建除詩〉中書寫其南北家國亂離下深切的悲涼之感。本文期能透過對此四首作品的再發現，翻轉此一體裁在過去文學史上僅僅被視為「遊戲之作」的單一定位。

In Chinese literature history, there was prejudice on the popular Ying Zhi and Chou Zuo in literary circle of Southern Dynasties. They were considered as ＂playfulness by literature＂ and it lacked ＂personal affection＂. From this perspective, the styles such as Jian Chu poem, Shu Ming poem, Jun Xian Ming poem and Yao Ming poem, are regarded as the poems only with the function of ＂game＂, without profound significance. Four pieces of Jian Chu poems in Southern Dynasties of this study are the poems which have been neglected in this traditional framework of poetry. Jian Chu style must be inlaid with ＂Jian, Chu, Man, Ping, Ting, Zhi, Po, Wei, Cheng, Shou, Kai and Bi＂ as the first words of every two sentences. The style has been degraded. Nowadays, in academic circle, they are mostly interpreted from perspective of ＂game＂ and the implication and thoughts are rarely explored. The author probes into four pieces of Jian Chu poems in Southern Dynasties, written by Bao Zhao, Fan Yun,Xiao Cha and Shen Jiong. The researcher realizes that the four pieces are not simply ＂the work of game＂ based on inlaid words. The ＂worries＂ are implied in the poems. Bao Zhao’s Jian Chu poems shows his ambition of achievement in the adolescence; Fan Yun’s Jian Chu poems introduces his strategy to withdraw from malicious political situation; by Jian Chu poems, Xiao Cha expresses his ambition in early times of the foundation of the state; In Jian Chu poems, Shen Jiong reveals his profound sorrow in the national chaos. By re-discovery on these four pieces, this study intends to overturn the single position of the style which has been degraded as ＂work of game＂ in the history of literature.