夏宇詩語言向有諧趣特質，為回應楊牧詢問其創作悲傷的可能，夏宇撰寫長詩〈乘噴射機離去〉擬寫悲傷。儘管夏宇在開頭架構出感情主體相互對峙的悲傷場景，但隨其後詩行之推動，仍不禁流洩諧趣語言。全詩歧轉出的「哼唱通俗歌曲乘噴射機離去」、「睡袋字謎遊戲」、「外文會話與數學教本」三個諧趣段落，都帶有超越破壞開頭悲傷場景的快感，使文本語意路線逐次逸離原初的悲傷場景。夏宇自述〈乘噴射機離去〉書寫過程中歷經六次重新謄寫與續寫而後定稿，呈現向起始悲傷反覆回圜與推進的文本運動性。而這份運動性，也外延至夏宇被「詩的聲光」改編為詩劇文本的〈南瓜載我來的〉。夏宇透過「運用標點符號夾注聲響」、「反襯指現結構內的機制秩序」兩種諧趣修辭，為僵固的悲傷結構蔓枝歧路，終使〈乘噴射機離去〉全詩產生悲傷／諧趣對位複調的聲響效果。

Shia Yu's poetry has long been noted for its characteristic of comedic and humorous discourse. To reply Yang Mu's inquiry into the possibility of tragic writing, Shia Yu tries to write about sadness in a long poem, ＂Leaving on a Jet Plane.＂ Though piling up a tragic scene about the confrontation between affective subjects in the very beginning of the poem, Shia Yu cannot but reveal comedic discourse in later context. Three comedic paragraphs, ＂Humming popular songs, leaving on a jet plane,＂ ＂Crossword game in a sleeping bag,＂ and ＂Foreign language conversation and mathematics textbook＂ deviated from the whole poem, all bring about a pleasant sensation that overthrows and destroys the sadness in the beginning and in turn make contextual pathway escape from the initial tragedy. Examining the writing process of ＂Leaving on a Jet Plane＂ from contextual development, it is found that Shia Yu undergoes six transcriptions and continuing writings before giving a final text and shows repeated lingering and impetus toward the tragedy in the beginning. However, her return to the initial tragedy does not mean her continuing writing only the replication of former description. Instead, through two kinds of comedic rhetoric, ＂using punctuation marks to separate and note the sounds＂ and ＂contrasting and indicating the order of mechanism in a structure＂ in every transcription and continuing writing, Shia Yu branches out a new route from tragedy's stiff structure and makes ＂Leaving on a Jet Plane＂ unfold a sound effect of tragedy/comedy polyphony.