由於受到傳統文化觀念的影響，古典文學對於「生」的興趣遠勝於「死」；歷代批評也以「常世價值的實踐」與「典範」的觀念做為評價的標準。這種文學批評標準，在李賀詩的詮釋中特別顯得有所缺憾。李賀詩好談鬼神之事，又喜用「死」、「鬼」、「泣」、「血」等字，營造幽冷陰森之意象，後世便以此為由稱其為「詩鬼」。論者多以李賀之多病、懷才不遇、孤憤而好神祕幻想為因，「鬼詩」便為其果；然而這種批評觀忽略了在因與果之間，詩人的心理轉折。本研究擬藉由終極關懷的研究視角，探析李賀詩的「過渡書寫」。「過渡」意指人們脫離「常世」的觀念與心理狀態後，進入價值觀動搖、自我認同混亂、主體飄泊無依的生命階段。此種傳統批評鮮少探索的心靈書寫，從文學生死學看來，卻正是李賀詩獨特的價值。

Classical literature influenced by Confucianism emphasizes the concept of life over the notion of death. Traditional critics have used universal value and paradigm as the criteria in evaluating literature. Regarding this interpretation tendency, obious deficiencies are observed in studies conducted on Li He’s poems. Li He tended to involve ghosts and deities in his poems and used words such as death, ghosts, cry, and blood to create an image of secluded darkness and gloom. Therefore, Li He was dubbed the Ghost of Poetry in later periods. Most critics consider Li He’s constant illness, complaints about his unappreciated talent, and preference for mysteries and fantasies the cause and the “ghost poems” the effect. However, such viewpoints overlook the poet’s psychological transition between the cause and effect. In this study, we reinterpret Li He’s transitional writing based on life and death studies. Transition is defined as the transcendence of people from a psychological status of universal value to a life stage at which values shift, self-identity is confused, and the subject wanders. From the perspectives of life and death studies, this type of psychological writing, which traditional critics have rarely examined, is the unique value of Li He’s poems.