「死亡只是存在的消失，而非生命的結束。」宇宙中形式變化不居，而生命永存；死，是生命暫存於秩序之外，以作為下次輪迴的開始。對形而上展開深廣的沉思與探勘，隨處散發以天地為廬，共萬物而生死的物我交融詩境，為洛夫詩始終不變之特色，尤其集中表現在《石室之死亡》和《漂木》兩座輝煌的界碑。本文擬從多重維度考察洛夫詩的生死觀，首先，分析詩人如何透過一連串「死亡的演習」，確立存在感，彰顯生之執著；其次，論述詩人靈視死亡、詮解死亡，賦予死亡豐美形象與意象；再次，詩中的生、死辯證，從對立衝突而同衾同構，以及「生死同構」思想其前後之細微差異，也是本文探究重點。

“Death is just an absence of existence; it does not mean that life has ended.” The cosmos is in a state of constant flux, is ever-changing, is dynamic, but life is permanent. Death means life exists briefly outside the order, to be the next step in the transmigration of the soul. Luo Fu’s poetry develops a wide field for meditation and exploring metaphysics. The main constant characteristic is the vision with which external things are combined with the individual mind, and this is particularly evident in Death of a stone cell and Floating Wood. The current article adopts multiple perspectives to explore the enlightened insight of life and death derived from Luo Fu’s poetry. First, this study analyzes how the poet establishes the sense of existence and manifests the paranoia of life through a succession of “death sims.” Second, this study analyzes the poet’s viewpoint and interpretation of death, which endowed death with dynamic image. The key points of this research are dialectics on life and death, from opposition to isomorphism, and distinguishing the differences between pre and post ideas.