水果經常被詩人用來隱喻或象徵女體，甚而發展成情色詩，余光中卻是以女性想像來歌詠水果。前者政治意味濃，多以水果的可食、供祭、充飢等特性，象徵兩性的權力政治；余光中則藉以女性大圓、容納、滋養等母性的原型特徵來歌詠水果，又善用感官與情慾之間的意象流動，建構了一系列別具特色的水果詩。本文藉榮格「原型」、諾伊曼「大母神」等理論，探索女性與水果之間的潛在意象，並勾勒出余光中的阿尼瑪形象，據此基礎，再輔以「狂歡節」理論及性心理學的研究結果，探究詩人在這些水果中所建構的情慾想像，透過水果與女性容納的象徵、味覺與母乳的源起關係，以及食慾、情慾與孕育間意象流動的解析，窺得余光中的情慾想像裡透露著一種生殖性的意涵

Fruit has been taken as a metaphor or symbol of female body, and further developed into erotic poems. However, Yu Kwang-chung uniquely eulogizes fruits with female images. The former type of poems, bearing strong political suggestions, often symbolizes gender politics with fruit because it can be consumed or sacrificed, and can alleviate hunger. However, Yu Kwang-chung praises fruits with archetypal maternal features such as the gigantic circle, capacity and nourishment, and constructs a series of distinctive fruit poems through flowing images between sensation and sexuality. This article, using Jung's ＂archetypes＂ and Neumann's ＂Great Mother＂ theory, explores the potential images between fruits and females, and delineates the rather maternal and positive image of Anima under the poet's hand. On this basis, along with the ＂Carnival＂ theory and sexual psychology, this essay further delves into the sexual imagination constructed by the poet among fruits. Considering the symbol of capacity of fruits and females, the shared origin between taste and breast milk, and the analysis of appetite and flowing sexual images, Yu Kwang-chung's sexual imagination seem to betray a latent meaning of procreation