本文以徐志摩、聞一多、朱湘等三位新月詩人為對象，展開文化精神與詩歌隱喻的綜合考察，嘗試重探初期現代漢詩美感型態轉換過程中，較為人所忽略的一種路向。全文以「魔怪意象」為核心，討論了幾個悖論式的議題：一、詩人面對垂死的母國，愛恨交織，神魔共構，經常萌生一種處於「如墓的子宫」的空間感受。二、無力改變現實的挫敗與憂鬱，使抒情自我產生「腐爛的身體感」。但講究裝飾的藝術傾向，又彷彿給腐屍穿上了外衣。三、時代壓力使詩人主體變形，逼出一種兼融怨恨與救贖的「毒藥似的語言」，逐漸發展為新的詩學範式。

This article tries to explore a seldom discussed issue of the aesthetic styles of modern Chinese poetry in the transformation process by taking three Crescent poets Xu Zhimo, Wen Yiduo and Zhu Xiang as objects of study. It carries out an integrated observation of both cultural spirits and poetic metaphors. Demonic imagery is the axis of the whole article. Some paradoxical topics are discussed: First, the tomb-like womb - it is of the poets' feelings on space toward declining mother land. There are love and hatred complicatedly weaving together just as gods and demons both exist in this special space. Second, the rotten body experience - it is the poets' depression and melancholy occurring when the lyric-self had no way out to change the reality and yet the artistic tendency of excessive decoration seemed to put on outer garments on corpses. Third, pharmakon-like language - it is the mixture of the poets' resentment and salvation, caused by the transfigurative subjects under the pressure of this era. Therefore, a brand-new poetic paradigm was developed. All these topics are important for us to understand the development of modern Chinese poetry and provide a new perspective for us to measure the influence of the Crescent poets.