1955-1960 年間，初登詩壇的中文世代詩人白萩，與跨語復歸的林亨泰，存
在著一種白萩所謂「對抗性的影響」的雙向關係。白萩受林亨泰影響加入「現代
派」，從早期的抒情浪漫走向現代主義。其以圖象詩呼應林亨泰的符號詩論，卻
不願成為其重複，嘗試建構一套以「意義」為上位概念，視覺性與音樂性並重的
詩的繪畫論。〈蛾之死〉兩層性、合唱性與同時性的詩法，極可能反過來刺激林
亨泰寫下其知名的〈風景〉系列。兩人交互的刺激與對話，共同將1950 年代發
軔期的台灣圖象詩推向更高的層次。這篇論文，將以白萩的圖象詩實踐及詩的繪
畫論，對讀跨語世代林亨泰的符號詩／論，著眼影響的焦慮與世代差異，嘗試究

明兩人在戰後台灣圖象詩發展上的交會、交錯與相互影響。

From 1955 to 1960, Pai Chiu, a poet of the Chinese generation who had made
his debut, and Lin Heng-tai, who had crossed the language gap and returned to the
poetry circle, engaged in a bidirectional relationship that Pai Chiu called “antagonistic
infl uence”. Infl uenced by Lin Heng-tai, Pai Chiu joined the “modernist movement”,
transitioning from a romantic lyric poet to a modernist. He echoed Lin Heng-tai’s
theory of semiotic poetry with his concrete poetry, but reduced to repeat it. Instead,
he attempted to construct a visual theory of poetry that takes “meaning” as the
superordinate concept and emphasizes both visuality and musicality. The duality,
chorus, and simultaneity of the poetic techniques in “Death of the Moth” might have
inspired Lin Heng-tai to write his famous work “Scenery” series. Through mutual
stimulation and dialogue, they jointly pushed Taiwanese concrete poetry, which began
in the 1950s, to a higher level. This paper will compare Pai Chiu’s concrete poetry
practice and his visual theory of poetry with Lin Heng-tai’s semiotic poetry and
theory, focusing on the anxiety of infl uence and generational diff erences, and attempt

to explore the intersections, and mutual influences between the two poets in the
development of Taiwanese concrete poetry in the postwar period.