“Liminal space” refers to a concept of critical and marginal space. In 1937, when the “Lugou Bridge Incident” broke out and Peking fell, the poet Zhu Yingdan also entered the “liminal space” with the city. Untitled poems, with their formal meaning and classical implication, as well as Chinese aesthetic features such as obscurity, ambiguity, emptiness and loneliness, are really effective tools for Zhu Yingdan’s exploration of “speaking and no speaking” from the two-way other perspective. Zhu Yingdan’s untitled poems keep the past as the new, which makes the “liminal space” harbor contradictions, hybridity and uncertainty, have the power of inclusiveness and expansion, and show the pursuit of “alternative modernity” of Chinese poets. While helping the poet to establish a new framework for self-interpretation of the world, it also implies the poet’s persistence in the true state of existence and his pursuit of unique aesthetic spirit during the fall of Peking.