主流詩史敘事談到超現實詩，皆以「反抗」並「取代」官方文藝這個觀點切入；而引領超現實詩潮的創世紀詩社，則被賦予反抗官方文藝、當時社會政治下的不得不然，因此詩作中炫奇技巧、空洞內容成為反共文藝體制下的荒漠甘泉。事實上，將超現實與反共文藝對立起來，如此非黑即白的二分法，可能掩蓋了「創世紀」與官方文藝政策間若即若離的關係。為了解決這項詩史疑義，本文主要觀察一九六○年代初期「創世紀」走向「超現實」路線的發展過程，藉以探討集中出現的大量「超現實」話語如何生成與運作，並以此檢視「創世紀」的「超現實」路線是否真如主流敘事所言：反抗並取代官方文藝。本文認為「創世紀」從「民族」轉向「超現實」，看似從強調「縱的繼承」改弦易轍而接受「橫的移植」，其實深藏的詩學核心仍是官方意識形態的展演。

It's a common saying that surreal poetry “resists” and “replaces” the official literature by the mainstream narrative of poetry history, and that the “Epoch” leads the trend of surreal poetry to resist the official literature and necessary of the society and politic at that time. In actuality, surreal poetry in opposition to anti-communism is a dichotomy that might cover the relationship of the “Epoch” and the policy of the official literature. This paper aims to observe the development of the “Epoch” toward “surreal” in the early 1960’s, and considers the process from “nation” to “surreal” of the “Epoch” whose poetics are still an official ideology.