1950年代周夢蝶發表而未輯入詩集的詩超過六十首，在曾進豐編成《風耳樓逸稿》之前，這批為詩人剔除的稿，讀者很難看到。這批稿子固不足以言周夢蝶詩的風格，但在研究周夢蝶創作歷程時，卻能證明詩人的風格非一朝生成。周夢蝶詩風，形塑於《還魂草》，大成於《十三朵白菊花》。本文以其才性、身世、環境、學習，陳述他在體制外流亡、作為「圈外人」的心境，進而闡釋他詩中「煩惱即菩提」的靜態悲劇，分析其晚年轉折叩問、如環往復、自成一格的表意語系。歸結曰：沒有舊學的根柢，不能成周夢蝶風格；沒有佛經的體悟，不能成周夢蝶風格；沒有孤苦的身世遭逢，不能成周夢蝶風格；沒有自外於繁華情愛的「流亡」意識，亦不能成周夢蝶風格。

In the 1950s, over sixty of Chou Meng-tieh’s poems appeared publicly. However, beforethe publication of The Unpublished at House of Wind’s Ear, edited by Tseng Jin-fong, thesepoems were never included in any of the poet’s poetry collections, and therefore wereinaccessible by the readers. In examining Chou Meng-tieh’s creative development, these earlypoems, although not showing much of the poet’s style of his mature works, prove the fact thata poet’s style is not formed just in days. Chou Meng-tieh’s poetic style started to take shape inGrass of the Returned Soul, and matured in Thirteen White Chrysanthemums. Based on thepoet’s character, upbringing and educational background, this essay tries to analyze the mindframe of the poet who, all throughout his life, seems to be an “outsider” of the social system.In addition, it tries to interpret the poet’s “static tragedies” and the philosophy of “sufferingbrings enlightenment” in his poetry; to explore the circuitous arguments he has raised forhimself repetitively, and the characteristic verbal expressions, totally of his own, in his laterworks. The research leads to conclusions that without the classical studies, there would be noChou Meng-tieh style; without the understanding of Buddhism, the struggle of personal life,the self-imposed exile from love, there would be no Chou Meng-tieh style.