本論文以楊守愚在日治時期的新、舊體詩為研究對象。首先根據他的生平事跡， 突顯其以「無政府主義」為主導的思想特質。而後，將楊守愚作品依寫作先後排列，勾勒其 文類發展的脈絡，並指出楊守愚由舊詩而小說，而新詩，而後又轉回舊詩的創作歷程，嘗試 配合時代背景及文學環境說明其所以如此取向之故。接著扣住新詩及舊詩兩種過去研究者較 罕提及的文類，對其內容主題進行分析，而後指出，楊守愚的新詩基本上繼承了小說的寫作 精神，具有積極性及批判性；而舊詩則似嫌保守，無法和其它「二世文人」一樣，在舊形式 中多元地表達新思想，遂使一九三七年禁用漢文後的楊守愚作品略見遜色。政治因素對創作 者干預之大、斲傷之深，從楊守愚創作生命的由絢爛遽歸黯淡，可獲得證明。

　　　　　The research object of this thesis is modern/classical verses of Yang, Shou-yu during the Japanese occupancy period. First of all, Yang's unique ideas dominated by "anarchism" are pointed out through his lifelong deeds. Secondly, Yang's works are displayed in chronological order for the purpose of presenting the outline of his literary development. In addition, the causes of his various writing styles from classical verses to novels, modern verses and then back to classical verses are analyzed through both historical background and literary environment in that period. Furthermore, this thesis analyzes the contents and themes of modern/classical verses that few researchers ever discussed in the past. In conclusion, Yang's modern verses inherit the writing motif of novels; that is, enthusiasm and criticism. As for Yang's classical verses, they are rather conservative. He fails to express modern thoughts in classical styles like other "second generation literati." As a result, when Chinese are hanned in 1937, Yang's works are not as splendid any more. The transformation of Yang's writing career from prosperity to insipidity proves that politics may cause deep intervention and detriment to creators.