本文全面深入的探討唐代數以百計的論詩詩，將論詩詩看作在後設層面展現的文學幻設空間，著眼「以詩論詩」的後設語言及其書寫與閱讀的問題，包括詩的存有論意義、詩人的自我再現、閱讀與詮釋、文學建制（行卷、詩集、傳播等），及文學史視野下的影響焦慮等問題。韓孟詩派、苦吟詩人、詩僧寫下特別多的論詩詩，本文透過具體例子闡述論詩詩的語言行為，詩的自我折射，稼接、象喻等語言策略，進而探索詩歌與存有、歷史、深淵的關係，詩人既驕傲又自卑的心理焦慮，在閱讀、傳播、批評過程中展開的後設遊戲，最後聚焦在中晚唐的影響焦慮，這些現象預告了宋代詩學的特徵，從文化史的視角解釋論詩詩的歷史意義。

This paper overall and deeply examines hundreds of on-poetry poems (lun-shi shi 論詩詩) of Tang, focuses especially on the their meta-language and relationships with literary reading, in which meanings of poetic being, self-image of poets, readings and interpretations, influential anxieties from the vision of literary history, and literary organizational systems (publishing volumes, anthology of poems, dissemination, and etc.) are included. Generally, on-poetry poems are read as space of literary imagination unfolded in the meta-level. Grotesque poets such as Han Yu and Meng Jiao, ku-yin poets, monk poets, they all write large number of on-poetry poems. Through specific examples, this paper interprets the linguistic activities, self-reference of on-poetry poems, and common strategies such as transformation, symbolization, and metaphor. We also analyze relationships among history, being, abyss, and poetry, the self-contradictions and anxieties of poets, and the meta-game consists of reading, dissemination, and critique. Finally, we consists of reading, dissemination, and critique. Finally, we focus on the influential anxiety appeared in the texts after the mid-Tang, and indicate that, from a new cultural perspective, these writings could be read as preliminary announcements of the appearance of Song poetry.