詩歌新語詞研究的既有成果在於語詞生成後的衍義情況，以及語詞和文化互動的過程，少見對於語詞如何生成、為何生成的討論。本文以「南枝」一詞為例，考察漢末〈行行重行行〉「胡馬依北風，越鳥巢南枝」起，經六朝、至唐代詩人對此一新語詞的運用情況。從典故用事、詩歌體式、譬喻生成等三個面向挖掘南枝為詩人持續運用並能生成衍生義的原因。詩人藉由詩歌創作的實踐，讓詩作成為語詞生成新意的實驗場地。本文試圖彰顯詩人創作時的創意和選詞對新語詞生成的有效性，並藉此討論語詞生成與詩歌體式、文學意象等議題：包括共識性的意象如何疊加在成辭上，並形成新的典故；詩歌句式和修辭彼此影響、不斷更新的動態過程；以及譬喻意涵如何隨著詩人慧心和歷史、政治的互動不斷增生。經由對詩人創作意識的凸顯以及對重要詩學議題的回應，詩歌新語詞的討論或可成為詩歌史研究的關鍵

The studies of new terms in poetry has focused on how the meaning changed after a word is lexicalized, and how a new term interacted with the society. This article tries to discuss why, and how is the particular word that became a new term during the writing process. In the case of ＂Nan-Qi＂, since this term have used in a poem in late East-Han, many poets used it as an allusion. Moreover, they used it in order to fulfill the need of the mainstream of the poetic form in the era. From time to time, ＂Nan-Qi＂ becomes a complicated metaphor. Hence, the using of ＂Nan-Qi＂ involves three different aspects of the history of lyric poetry