本文依據筆者博士論文《巨靈：百年新詩形式的生成與建構（1917-2017）》一文〈結論〉的部分內容，加以擴寫，針對新詩形式發展的各個階段，進行更詳細的闡發。筆者博士論文以「詩行」為核心，探討新詩的基本形式「分行自由體」的生成，以及在分行自由體的主導下，新詩如何建構起千變萬化的形貌。過去新詩的形式研究主要關注「新格律詩」和「圖象詩」的發展，但是對於新詩的主導形式，也就是「分行自由體」卻鮮少關注。長期避開不談的結果，造成對新詩形式原理的陌生，多以形式自由、反對格律、沒有固定規則等概括論之，更將新詩的形式完全視為移植西方詩歌形式的結果，對新詩形式的生成產生了諸多誤解。為探討這個問題，論文共分七個部分：〈緒論〉詳述研究動機、研究範圍、研究方法等，從「詩行」的角度，提出新的現代詩歌分類方式。第一章探討百年來漢語詩歌從破體再到定體的過程，發現到新詩的形式並非完全移植自西方詩歌，而是古典漢詩破體之後的自然演變。第二章探討新詩的組成份子「漢字」以及「標點符號」、「空格」，提出漢字外型的「字元化」特徵，正是新詩之所以能夠順利採取分行形式完成現代化的關鍵，同時詳述空格與標點符號兩者的消長關係。第三章探討新詩「句式」，以及「書寫方向」、「對齊方式」，說明新詩是如何由最初延續自舊詩「兩句一聯」的敘事結構，產生今日主導的「單層短句」句式。第四章探討新詩的「詩型」，因常用的分行詩、散文詩、圖像詩三種分類方式，在今日已經不能正確用以說明一首新詩的形式，提出以詩行的使用方式將新詩重新劃分為八種基本詩型，由新的角度檢視新詩的形式結構。第五章探討新詩的「定行化」，固定詩行數目是近年新詩定型最主要的方向，企圖使新詩從完全的自由體，成為一種有條件的準定型的半自由體。〈結論〉部分，綜合前述對於新詩形式的討論，歸納出新詩形式的發展歷程，包括【生成階段】的「萌芽期」與「定體期」，以及【建構階段】的「奠基期」、「張揚期」、「混雜期」、「極簡期」，發現新詩的形式變化，與社會思潮、印刷排版技術密切相關，今日的數位行動時代正帶領了一波新的形式變革。最後，由形式直指新詩的美學根源，亦即現代人如何透過新詩表現出內心的詩意，而新詩的形式在傳達個人情志的過程中，發揮怎樣的作用。藉由各章成果，確立新詩形式的幾項重要特點：行句分離、終結詩體、由口語轉向書面，以及不對稱的詩歌美學等

This article excerpts and expands the Conclusion and Suggestions in my dissertation. My dissertation discusses the development of modern Chinese free verse writing with specific focus on its free format. Studies of modern Chinese poetry used to pay more attention to its pattern (visual poetry) as well as rules and forms (new fixed verse), and the free form of modern Chinese poetry has been generally neglected. As a result, the modern Chinese poetry movement was mistaken for a direct transplant from western tradition of free verse writing. In order to discuss the issue, the paper focuses on the line of poetry in seven chapters. Motivation, scope, and methodology are explained in the introductory chapter from the perspective of free format. The first chapter argues that the evolution of modern Chinese poetry is not an adaptation of the western poetry but a product of classical poetry de-regulated and liberated over the centuries. In the Second Chapter, Chinese characters, punctuation marks and space as well as dynamics among them are elucidated as keys for the free format of modern Chinese verse writing, and the oscillating development of space and punctuations is also addressed in detail. The Third Chapter investigates how sentence structure, including direction and alignment of writing, was able to change from the past couplet to the modern single format. Types of modern Chinese poetry are discussed in the Fourth Chapter, which proposes the division of eight basic styles by the deployment of lines instead of the traditional three categorizations (verse, prose poetry, visual poetry). In view of the trend to return to more regulated format, the topic of the Fifth Chapter focuses on the development toward standardization and the new form of ＂semi-free＂ modern poetry with fixed number of lines. To summarize, the study concludes that the evolution of modern Chinese poetry has gone through several periods, including the budding and shaping in the embryonic stage, and the founding, expanding, mixing, and simplifying in the constructing stage. A brand new style of poetry is on the way in accordance with digital and mobile development. Finally, discussion is focused on how aesthetic experience of inner beauty may be expressed by way of the form of modern poetry. The discussion above shows the form of the modern Chinese poetry contains some important features, including the separation of lines and sentences, the ending of the format, the transformation from the colloquial to the written, and the asymmetric poetic aesthetics, as the wonderful journey and a complete review of the evolution of the modern Chinese poetry