朦朧詩人楊煉嘗自命在中國的寫作生涯為「中國手稿」，以經典《易》為基底結構的《符號略》，是詩人「中國手稿」後期之作。其中，六十四卦與卦象思維，《符號略》取其象義，化生為四部組詩，詩集的說明性文字〈總注〉與〈關於《符號略》〉提出通貫全書的概念為「同心圓」，這也是他人生閱歷的體悟，甚至，在「中國手稿」之後以「同心圓」(Concentric Circles)為英譯詩集名，延續了「同心圓」的文字精神，可見孕育於《符號略》的「同心圓」圖示已化為詩人靈魂的一部份，與他的文筆同在。本文以「中國手稿」最後階段之作《符號略》為研究範疇，先由楊煉實質的人生際遇，解析其線性邏輯發展的詩路，從中消解／建構同心圓的理想結構。第二節就《符號略》的四部組詩，潛進楊煉的精神領域，探究其精神史歷程的質變狀態，分別論述《符號略》的塑形策略，透過他藝術理念的自白，檢視語言傳遞與實踐的過程。

Yang Liang can be named as the main poet of The New Period Literature; his poems not only like a river that can reflect the changes of The New Period Literature, but also show the culture at sight exactly. The proper making of the poem is a form of right action and a part of the religious duty of the poet, so Yang's poems are continually concerned with the right words as well as the poet's spiritual journey in the muddy world. Yang’s abundant life experiences have so much to do with his literature performance, and thus succeed in achieving a rich fusion of Oriental and Occidental wisdom. The theme of this essay is to survey the "root-seeking" revealed in Yang Liang's poems, based on his writing timeline in two phases. Finally, tries to apply Yang's poetics upon his poems; so as to indicate Yang's status in the history of literature.