新詩經歷了近百年的轉變，應該思考一些更為內質的問題。本文試提出「語言結構」之觀念，作為一個新的詩學切入點。但此四字遠遠超出一般語言學家的研究領域。嚴格言，是指親成風格的詩人，各自創造的美學模式。或可看成是：「詩人想像線索的基本反應。」文內追源「現代詩之父」波特萊爾對法文語法的創造性，再舉詩人學者葉維廉在中西詩語法比較的研究成果，帶出詩語言的核心領域—個別詩人在語法創造的現象。論文第三部份，列舉臺灣自五、六十年代至八十年代，不同的創造流派四家：洛夫、黃荷生、商禽、夏宇等，透過其詩例，分析他們如何擴展了漢語語法的表達方式。

Passing the evolution nearly a hundred years, the studies of New Poetry ought to be directed on a more essential aspect. In the text, “language pattern” is declared as a new view for the poetic criticism. Yet the notion is far beyond the domain of semantics. It is concerned with those aesthetic forms created separately by the grand poets. Otherwise, it can also read as: “fundamental function of imagination by the poet.” The text demonstrates the excellent development of language patterns in French achieved by the “Father of Modern poetry” Baudelaire; and introduces the theory established by Mr. Yei Wan-Lian in which the poetic patterns of occident and orient are compared and measured by each other. This phenomenon allows for a profound reflection in poetic studies: genius poet creates the pattern of a language. It displays in the further essay four features of the poetic language patterns: Lo Fu, Huang He-Sheng, Shang Qing and Xia Yu. Through the analyses of their poems, we can comprehend the expansion of patterns expressed in our language.