本文為「變形」詩學探討系列其中一篇。筆者有意將詩經時代賦、比、興三形態在詩內產生的藝術效果，重新研究。在現代詩領域中，則嘗試以敘事、變形、對應三種基型，來疏導千變萬化的，令人詬病令人頭痛的詩語言種種實驗之成果。三千年前的賦比興，與今日的敘事、變形、對應，能否有一份遙遙呼應，相互補足的可能?筆者曾寫過〈自古典之旁辨解現代詩的「變形」問題〉。疏解「比」之要義與「變形」的相連關係，指出台灣詩壇為中國詩傳統「變形」肇始。其義深遠。文中列舉早期開創變形語言的先輩洛夫、商禽、?弦。黃荷生等。並指出其中以黃荷生的模式走得最遠，亦最難被人接受。 本文是「變形」系列第二篇。探討台灣新一代詩人的變形模式。新一代的青壯詩人。在前輩語言實驗成果中自然成長，但參雜著七O年代鄉土文學寫實的想法。其中又有九O年代後現代重回生活敘事之觀念;因而，其「變形」方式是很混雜。而且有所節制的。文內舉出唐捐、駱以軍、林燿德、零雨、羅智成五家，冀能代表變形的不同方向。

　　　　　The aim of this paper is to reexamine the artistic effect created by the three modes bi, xing" flourished in the age of The Book of Songs. It also attempts to clarify the diverse, experimental, and difficult poetic language of modern Taiwanese poetry. The main concern here is: Can the three modern poetic modes of "narration, transfiguration and correspondence" be considered as the supplementary substitution of the traditional "fa, bi, xing" modes? The poetics of transfiguration is manifested in the works of the new generation of Taiwanese poets such as Tang Juan, Luo Yijun, Lin Yaode, Ling Yu and Luo Zhicheng. The transfigurative or deformed language of these poets is indebted to the experimental projects of their predecessors like Ya Xian and Huang Hesheng. But they are also much influenced by the literary ideology of the nativist movement of the 1970s as well as the return of the life-narrative in contemporary postmodernist poetics.