截句詩著作出版不斷，在白靈、蕭蕭等詩人的創作與論述倡議下，可謂蔚為風潮。其形構方式殊異於傳統詩內外結構的敘事質素之外，觸發人們思索「意象」備具的挑戰。完整的詩作，多講究詩內部結構的敘事形態、發聲位置、意象營造，透過敘述者並有預設讀者聆聽所完成，故詩人書寫往往會考量詩衍發的意象是否得到良好效果，並節制適當的停頓不致無邊地指涉；相反地，截句詩在「截」的「邊界」上能否控制意象的觸發，或意象能否完成構成順利傳遞於預設讀者，顯是該類型詩應審思要點。故本文，將試圖以意象構成為切入視角，探討截句詩在書寫上有的發展或挑戰，試以增擴截句詩的相關論述。

Publications related to Jie-ju (truncated lines) grow continuously. With the creation and initiation made by poets, such as Tsu-huang Chuang and Shui-shun Hsiao, truncated lines have become a trend. The ways of composing truncated lines are different from that of typical modern poems, such as narrative structures-the internal and external structures. Besides, truncated lines show the challenges of ＂imagery.＂ A good poem emphasizes on its narrative, sound effects, and imagery construction. It leads the target readers to understand the work through the writer's presentation. Thus, poetry writing tends to be concerned with the positive effect of the imagery and the proper control of metaphors; on the contrary, the control of imagery on the ＂truncated＂ ＂boundary＂ of Jie-ju or the imagery communication with the expected readers are important standards in the review of Jie-ju. Hence, this study will elaborate on the imagery construction and then the development or challenge of writing truncated lines, in order to enrich the truncated lines scholarship.