成惕軒（1910-1989）以駢文名世，著有《楚望樓駢體文》三集，誠為近代駢文有數之鉅作，然而論者多聚焦其寫作技巧或擇題，對於成氏的駢文觀念罕有措意，對其晚年自定的千餘首存詩，更少有人深入抉發。本文擬綜觀成氏傳世的詩文作品，就兩個主要面向展開討論。首先整理成氏本人言論及後學的回憶文字，指出成氏並未獨尊駢體，而這種看法當承自晚清文家駢散合一的論調，進而析論成氏觀點與孫德謙《六朝麗指》、王葆心《古文辭通義》可能的關聯。其次，本文選擇將其詩作放在時代背景中，從身世感懷、現代經驗入詩、闈中唱和等三方面，指明他對於一己詩歌藝術生命的看法與寄託。要言之，本文意不在分析成氏詩文的藝術成就，但透過上述課題的探討，當能為成氏楚望樓詩文的面向及意義，提供較為豐富的認識，作為1949年渡臺文人後續研究開展之參考。

Cheng Ti-xuan received high praise for his parallel prose and threevolume anthology which represented the magnum opus of parallel writing in modern China. However, scholars and readers are mostly attracted by and focus on the writing skills and topics instead of his literature views, even ignore the richness of his poems. This paper will discuss his prose and poem mainly through two aspects to clarify the significances of Chuwang Tower literature. First, by analyzing Cheng’s own opinions and disciples’ reminiscences, it was demonstrated that Cheng did not revere only the parallel writing and his point of view of “combination of parallel and essay” could be traced to the late Qing literary theory. Most of Cheng’s viewpoints could also find clues from Sun Deqian’s Liuchao Lizhi and Wang Baoxin’s Guwenci Tongyi. Secondly, this paper will set Cheng’s poems in the context of the era and his life to investigate the content in three aspects: the contemplation of life, the reflection of modern experiences and classical poetry, and the poetic culture in Examination Yuan. Although the emphasis would not be put on Cheng’s literary achievement, by discussing the above subject matters, this paper will help to shed light on the significance of Cheng’s writing, the traditional literati and literary cultures from Mainland China to Taiwan in the 1950s.