本文試以李賀最擅長的樂府詩體、「虛荒誕幻」之鬼神題材為析論對象，經由對詩篇文本的精讀，提出前人未曾注意的詮解，再借用西方美學及空間詩學的一些觀點，探究李賀如何在特定空間中，佈景鋪陳，以文字繪圖，經由「借幻擬真」、「由真入幻」、塑造清新獨特的詩歌意象、藉寫出美之影響力以呈現美，種種書寫策略，開啟讀者的想像空間。讓讀者不僅看見美麗的女鬼、女神，更充分感知其氣氛、光韻，認知其靈魂。而且，李賀始終謹守樂府詩人旁觀描述的立場，並未在詩篇中抒一己主觀之情，也未將詩中描繪的女性作為欲望投射的觀看對象。這些都充分展現李賀畢生對詩藝傾心專注的鍛鍊、投入，以及他在群星爭輝的唐代詩壇散放的獨特幽光。

This article studies and analyses the Music Bureau sub - genre in which Li Ho excels and the "illusory and fantastical" subject of the ghost and fairy in his poetry. After a thorough textual study of his poems, a new interpretation will be furnished. Furthermore, by adopting some ideas from Western aesthetics and the spatial poetics, the author will ascertain how Li Ho depicts in a specific space the setting, elaborates the details, portrays with written language, and employs devices of "presenting virtual reality with illusions" and of "transforming reality into fantasy" so as to forge fresh, unique poetic imagery Also, by depicting the effect exerted by the beautiful beings, beauty is thus presented. All these strategies can open the door for the reader to realms of imagination. The reader not only can visualize the beautiful female ghost and fairy, but can perceive the aura that surrounds the female and the ambience permeating the poem, and also can realize the female - inner being. In addition, Li Ho always adopts the objective, descriptive approach of the Music Bureau sub - genre, and never displays any subjective feelings, nor has he treated the female in the poem as a viewing object and a projection of his own desire These all show that through his life. Li Ho concentrated on refining his poetic artistry and that his style is unique among the Tang poets.