詩評家蕭蕭將「以鄉土的語言」、「寫作鄉土的人事物」與「表達濃厚的鄉土感情」三者，視為鄉土詩的共同特色。他曾舉笠詩社、詩脈季刊社、主流詩社的同仁為例，欲將其置入鄉土詩此一系譜中。本文則不以「詩社」為別，專就「詩人詩作」立論，嘗試分析林煥彰（1939-）、吳晟（1944-）、向陽（1955-）三人的作品，一探他們究竟如何以詩詮釋「鄉土」？三人分屬以民國紀年之「二年級」、「三年級」、「四年級」不同世代，俱為臺灣最具代表性之鄉土詩創作者。不過上個世紀七、八○年代間，儘管有這批詩人從事鄉土詩寫作，臺灣卻終究沒有形成真正的「鄉土詩派」

The poet critic Xiao Xiao regarded the three ＂indigenous languages＂, ＂people who write native land＂ and ＂strong local feelings＂ as the common features of native poetry. He had cited poet colleagues from the poetry clubs, poetry periodicals, and mainstream poetry club as examples, trying to put their local poetry into the genealogy. This essay does not take ＂Poetry Society＂ as an example, but tries to analyze the works of Lin Huan-chang (1939-), Wu Sheng (1944-) and XiangYang (1955-), to see how they interpret the ＂native＂? The three belong to different generations of the ＂second grade＂, ＂third grade＂ and ＂fourth grade＂ of the Republican years, but they were Taiwan's most representative native poet creators. In the 1970s and 1980s, despite having these poets engaged in native poem writing, Taiwan eventually did not form a real ＂Native Poetry School＂