華文新詩創作，將屆百年，不論從一開始的「全盤西化」，或在發展過程中，提出「橫的移植」，無非都是向西方學習，而走上與傳統詩學相反的路向。然而，有著長達兩千五百年歷史的古典傳統，在新詩創作百年的實踐上，似乎並沒有完全被拋棄，仍然以清新的語感及鮮明的意象，被詩人以其古典文化素養，自覺的轉移到新詩的書寫語境中。在胡爾泰的新詩作品中，對古典詩料的嫻熟運用，並賦予新的命意，可以說是傳統典範的再創造，就新詩對傳統風華的復歸，與豐富新詩創作的內涵，並做為未來的創作導向而言，可以說具有相當深刻的啟發意義。有鑒於此，本文特以化裁古典為命題，就胡爾泰的第四部詩集《聖摩爾的黃昏》，選出四例，以互文性為方法論，論證胡爾泰的新詩創作，在對古典的繼承與創新上，既增加了新詩語料的豐富性，又指出了新詩進化的方向，正是對傳統與創新的雙重肯定

The new Chinese poetry has had a history of almost a hundred years. It has learned from the Occidental both in the former movement of ＂Total Westernization＂ and in the more recent trend of ＂Horizontal Transplant.＂ All those have pushed Chinese free verses toward the opposite end of traditional Chinese poetry.However, in the practice of new Chinese poetry, it seems that the classical Chinese poetic tradition, which has had a history of some 2,500 years, has not been totally discarded. It is still being consciously transferred, with renewed poetic sensibility and refreshed images, to the contexts of the free verses through poets' nurture of the classical elements of Chinese poetry.In his new poetic works, Poet Hu Er-tai skillfully uses what he has learned from classical Chinese poetic materials but endows them with new life and new meaning. This may be termed a typical model of recreating classical Chinese poetry-a returning to the delicacies of the classical in the modern or ＂new＂ with the richness in content of the traditional or ＂old＂ Hu's technique provides the free verses with an orientation of future trends and, therefore, inspires his followers.From this perspective, the present paper takes four examples from Hu's fourth poetic collection, A Dusk at St. Maur, and discusses his works and techniques therein. As its methodology it uses that of ＂intertextuality＂ to prove how he creates the new while inheriting the old, thus enriching the materials of his new poems, which reconfirms the current trends of combining the two in the new Chinese poetry