對宋人而言，「詩」這一文類與「窮」之間的相互關係被賦予更多的關注，尤其自歐陽脩提出「非詩之能窮人，殆窮者而後工」之論後，宋代詩文大家均加入討論的行列，「詩窮」也逐漸變成一個獨立的詩學用語。以往學界的討論，多聚焦於「詩能窮人」、「窮而後工」的歷史考察與綜合論述，本論文則以楊萬里（1127-1206）作為個案分析的對象。「詩窮」論題發展至楊萬里，他超越「詩能窮人」與「詩能達人」的論述，著重闡發「窮」對於詩人主體與身分所產生的意義，以及「窮」如何轉化成詩人的精神特質與資產，在饑寒生活與政治貶斥的困境中，仍能保持詩歌的創作熱情、堅守儒家的固窮精神。楊萬里不僅發出「不悔得詩窮」的宣示，更將關乎溫飽的「饑寒」，視為詩人檢視自我的第一關。楊萬里一方面強調「詩人」注定與饑寒窮困相伴，一方面又彰顯「樂而不憂」、「窮而不悔」的自由精神。因此，詩人之樂可以敵王公大人之樂，寒餓詩人可與王公大人平起平坐。在其論述中，更透過與政治人物的對比，突顯詩人個體內在超越性的傾向，進而強調真正的詩人是以無悔無懼的精神，傲視權臣貴宦，在窮困潦倒中甘之如飴地創作。以上觀點，都將透過楊萬里詩文中的自我表述及其與周遭詩友的往來作品，加以分析論證

Shiqiong 詩窮 was one of the most important topics in Song dynasty classical poetry. It concerned questions of why poets were oftentimes poor, or why it was that poor poets tended to create better poetry. The latter half of this compound term, qiong, denoted not only a lack of material means but also setbacks in one’s political career. Following Ouyang Xiu's 歐陽脩 claim that ＂poetry does not bring poverty to the poet, but enables one to become skilled in writing poetry,＂ many poets expressed different viewpoints on this matter. In order to clarify the importance and development of shiqiong, this article focuses its discussion on Yang Wanli's 楊萬里viewpoint. Yang Wanli was one of the most important poets of the Southern Song dynasty, and his theory of shiqiong was at once representative and influential. This article does not simply explain Yang Wanli's life of poverty, but rather seeks to shed light on his poetic identity and the value of his poetry. This analysis of Yang Wanli's oeuvre reveals that qiong had become the defining characteristic of great poets