本文撰著之旨有二：其一，對曼殊詩的寫作主題，作一系統性的分類。其二，將叔本華的悲觀哲學與蘇曼殊的詩作相互擬配，以高度突顯曼殊詩的「悲」的基調。筆者認為，中國近代的王國維、陳銓二位學者，雖已然接觸過叔本華的思想，但真正能在作品中體現其悲觀哲學者，實是蘇曼殊。此外，關於蘇曼殊的相關研究，迄今也已頗為豐碩，尤其 1995年以後，學界多從西方文學理論、小說內容與理論、翻譯文學討論蘇曼殊，2000年之後的年代，關於其詩作的討論，更是鮮少見得。此外，筆者認為，近世學者看待曼殊詩歌中的悲劇意識，多以詩作方面的閱讀賞析為主，仍未能真正的去系統性分類、真正以體系化的悲劇理論探論。是本文擬以此二條研究主線，重新審視曼殊詩作，期能激盪出不同以往的學術火花。

This article writes with two aims: one is to sort the themes of Su Man-su’s poetry in a coherent way, the other, to focus on the fundamental sad tone in Su’s poetry with reference to Schopenhauer’s pessimistic philosophy. In modern China,both Wang Guo-wei and Chen Quan were known for their knowledge of Schopenhauer’s thought. In my opinion, it was Su Man-shu whose work truly embodies Schopenhauer’s philosophic ideas. Studies on Su Man-shu abound, but popular approaches since 1995 mainly followed the tracks of western critical theories, particularly those of novels and translation. After the turn of the century, little attention has been paid to Su, let alone his poetry. Furthermore, Su’s tragic consciousness has been discussed only as part of literary aesthetic, and never in systematic way. For these reasons, this article takes to task the thematic sorting and a systematic philosophical approach to Su’s poetry in terms of Schopenhauer’s pessimistic world view.