本篇論文擬從《蕓朵截句》與《葉莎截句》兩本詩集切入，探討從截句本文衍生出來的種種「眾聲喧嘩」現象，作者在截句之外開啟了另一文本的想像空間，讓此想像空間與截句互相參照，證明截句之小（四行以內），之截（舊作截取或斷章截句），並不會使解讀空間窄化，反而具備更多元開放的意義有待讀者去發掘。不管是蕓朵或者是葉莎，在各自的截句詩集中，都出現了複數的文本，蕓朵的《蕓朵截句》展現截句與照片的搭配組合，葉莎的《葉莎截句》創造角色與截句內容對話，皆開啟了另外一個與截句相互補充、相反質疑的對照空間，讓原來只有四行的截句，解讀上更豐富多元

This article focuses on the Truncated Verse of Yun Duo and Truncated Verse of Ye Sha to explore a phenomenon which allows the reader to have their own different interpretations. The authors develop an imaginary space from the original poems to prove that the shortened sentences, resulting from, say, cutting off some contents or quoting incomplete contents, don't narrow or limit interpretative possibilities. On the contrary, the few characters bring more diversified ideas to the mind of the reader. There are plural contexts in the two collections respectively. For example, the combination of truncated sentences with pictures in Truncated Verse of Yun Duo and the dialogue between the characters and the excerpted verse in Truncated Verse of Ye Sha both extend an alternative space which complements and interrogates the truncated sentences, making the original quatrains more diversified in meaning