張夢機晚年提出「截搭」一說，意在寫作古典詩時，需新舊詞彙搭配用之，方能兼備古雅性與時代感。「截搭」的文學內涵，孕育自張夢機「新詞彙入詩」的論點。此一議題在戰後臺灣被反覆提出，預設讀者與討論情境各有不同。從1960 年代反省晚清與五四遺緒，1970 至1980 年代思考古典詩於現代社會之定位，到2000 以後與網路世代之新進學子對話，新詞彙入詩」提出的時間點以及相關論述之加筆減筆，實則反映著古典詩寫作所面臨不同的時代困境。本文試圖指出「截搭」與「新詞彙入詩」不應僅視為寫作技巧，而是在戰後臺灣古典詩游移於政治之中美角力、文學之中國傳統與西方思潮、文藝政策下古典詩地位邊陲化，古典詩人應如何調和過去與現在，進而尋求當代定位以及未來發展的嘗試與苦心。

     Zhang Meng-Ji brought up the argument Jie Da, the disconnection and collocation,suggesting that collocating new and old vocabulary on writing classical poetry could increase the classical trait and modernity. The literary significance of Jie Da could correspond to the introduction of new vocabulary to poetry that Zhang brought up. The argument has been discussed a lot in Taiwan since the end of the
second World War. Based on various readers and situations, the discussions focused on the refl ection on the legacies of late Qing Dynasty and the May Fourth Movement during 1960s, the position of classical poetry in modern times during 1970s and 1980s, and the dialogues with scholars of cyber era after 2000. The introduction of new vocabulary to poetry and concerning discourses in fact suggest diffi culties that classical poetry writing encountered in diff erent periods. The thesis suggests that Jie Da and the introduction of new vocabulary to poetry are not only writing methods, but the attempts and eff orts of classical poets for seeking the position in modern times and the future development, considering classical poetry has been wandering in US-China competition since the end of the second World War, and classical poets had to deal with the Chinese traditions and western ideology of literature, and the marginalization of classical poetry under then literary and artistic policies.