本文著重論析孟郊詩人形象之突顯，以及詩人意識的自覺表現和自我表述。首先，孟郊的詩人形象在韓愈詩文中有著最為明顯的呈現，其特質就是與社會世界格格不入的復古詩人。而孟郊本身的詩歌作品也一再呈現「詩人業孤峭」這種主題與意識。第二，當孤峭出俗的意識轉化為仕宦行為時，孟郊更為肯定「以詩為活計」的終極價值。此點在其任職溧陽尉和協律郎時有著更為清楚的表述。第三，孟郊孤峭出眾的詩人形象，加上他並未積極肯定仕宦價值，於是在現實生活中面臨到許多困頓挫折。對應於現實的冷落和不遇，其晚年喜自稱「詩翁」、「詩孟」等表述，意謂著在孟郊內心深處已將自我定義為詩人。因此，當他回顧其創作歷程時，而有「一生空吟詩」的慨嘆。此時的詩人意識與形象是孟郊透過自我反思、回顧而有深入地表述。最後，目睹洛陽詩友的死亡與飢餓，再觀照自身際遇，孟郊得出「詩人多餓死」的體認。從而對詩人命運、詩人特質有一切己性的思考和表述。值得注意的是，孟郊對詩人身份的關注是中唐時期士人精神活動的表徵之一，透過孟郊此一個案的分析，有助理解處於中唐這個劇變時代的文人，是如何在現實社會與文學傳統的碰撞中，追尋、思考自我的定位與價值。

This paper will discuss the topic that how Meng Jiao regarded and described himself as a poet. Meng Jiao was so special that his poetry was concerned with the self-consciousness as a poet. First of all, Han Yu recognized Meng Jiao as a unique poet had the restoration of the ancient way and isolated by society. Then Meng Jiao expressed the same recognition with his behavior and poetry more profoundly later. He affirmed his self-value by the creation of poetry. He had an idea that a poet must be better than an official. But the facts actually violated his idea. He felt so upset and angry when most people disliked his poetry. These were the turning points which caused Meng Jiao to think his identification and existence in the reality. Then he realized that the poetry he created all his life were emptiness. But it didn't meat that Meng Jiao gave up the creation. On the contrary, he used titles like "the old poet" and "the poet of Meng" to describe the identification of a poet. Then, the death of his poor friends caused him to think the destiny and characteristic of a poet. He found that the destiny of poet were death, hungriness and coldness. In brief, Meng Jiao's self-consciousness of a poet became more obvious in his last stage of his life. We may interpret his works more form this point of view.