由於白話詩肇始於中國新文學運動，同時期臺灣詩人勢必得從中國白話詩人的作品中理解何謂白話詩，進而開始嘗試創作白話詩。過去學界已陸續指出，臺灣日治時期重要的新詩人楊華，其詩作和郭沫若、冰心、梁宗岱等人的作品多處相似。本文在此基礎上，擴大將中國新文學報刊上的詩作與楊華的詩作進行比對，發現楊華大量剽竊了《創造季刊》、《小說月報》等刊物的詩作，證明日治時期臺灣新文學詩歌受到創造社以及文學研究會極大的影響。這種同文下的文本混生現象，包括改寫、仿擬、抄襲等，在日治時期的報章雜誌上極為普遍。本文探究其原由，發現當時臺灣總督府因統治考量而未將日本頒布的著作權法於臺灣施行，使得臺灣在快速發展現代出版事業的同時，卻無相應的著作權法可依循。在這樣的時空背景中，楊華透過同文下的剽竊進行詩歌的文本混生實驗。本文即針對楊華剽竊的事實、來源管道、作品型態與後續效應，加以舉證分析，重新闡述了楊華的審美原則、詩歌形式、創作心理、文化認同等面向，並藉由其剽竊習慣來考定其作品。筆者認為，楊華的例子見證了一位生活在殖民處境下的臺灣詩人如何從剽竊走向創新，在「中國白話文派」與「臺灣話文派」相持不下之際，嘗試融合兩條路線，寫出具臺灣特色的中國白話文學詩歌。

At the time when New Chinese Literature Movement gave birth to vernacular poetry, Taiwanese poets had little choice but to learn how to write vernacular poems from the works of Chinese vernacular poets when trying their hand at this genre. Yang Hua was one of the most prominent new Taiwanese poets during the period of Japanese colonial rule. Successive academics have indicated that Yang’s poems bear similarities to those of Guo Moruo, Bingxin, and Liang Zongdai, etc. The present study probes more deeply into the comparison between Yang’s poems and those of New Chinese Literature publications. The finding is that Yang plagiarized a large amount of the poetic works from Creation Quarterly, The Short Story Magazine and the like, a proof that New Taiwanese Literature poetry during Japanese colonial reign was significantly influenced by the Creation Society and the Society of Literary Research. Yang’s synthesis of texts in the common language, including rewriting, parodying and plagiarizing, was often seen in the magazines and newspapers in the Colonial Period. Research revealed that governor general of Taiwan did not enforce the copyright law proclaimed by Japan due to some political concerns; consequenetly, the modern publishing industry in Taiwan developed rapidly while no copyright law was in force. Under such circumstances, Yang freely experimented with mixed texts in poems through plagiarism from the common language poetry. Based on the facts, the resources, the types of works and the follow-up effects of Yang’s plagiarism, the present study presents textual evidence and then analyzes and re-elaborates the aesthetic standards, poetry forms, creation mentality and cultural identification of Yang, and goes on to examine his works in light of his habitual style of plagiarism. The study finds, in sum, that this Taiwanese poet in the Japanese colonial period moved from plagiarism toward innovation, attempted to integrate equally matched factions of Chinese vernacular and Taiwanese vernacular, and finally composed Chinese vernacular poems possessing Taiwanese characteristics.