南社（1909-1923）是以革命為主調，詩學為主體，社員超過千人以上的近代社團，現今可見詩話超過百部以上，但探究者甚微。本文以胡懷琛《海天詩話》與田桐《扶桑詩 話》兩部詩話為主體，突顯南社在近代詩學研究的價值。除就作者生平、寫作背景、詩話版本傳播與刊刻情況進行爬梳，也對他們如何引介、品賞譯詩，以及收錄日人漢詩等現象加以論述。透過文本細讀和相關資料的比對，得見近代詩話與傳統詩話的差別、新創，以及局限性。此外，日本深受中國文化影響，漢詩寫作傳統甚長，但明治維新西化成功的經驗，反而使近代中國赴日取法者增加；舊體詩在二十世紀的中國被新文學運動者揚棄，卻在近代詩話中重獲新生。而幕末明治的日本漢詩，受到中國近代詩話作者的注意與肯定，不僅療癒沉寂一時的日本漢詩家，也因為通過「合於吾詩範圍」的評論標準，會通中日間的文化意蘊與抒情共感，得見舊體詩在域外的並蒂開花。

The ＂Nanshe＂ (1909-1923) is a modern society of more than one thousand members, with a mixed focus on poetry and revolution. The ＂Nanshe＂produced more than a hundred volumes on poetic theories, but scholars have not paid enough attention to those works. This essay mainly examines Hai-Tian-Shi-Hua（海天詩話）by Hu Huai-Chen（胡懷琛）and Fu-Sang-Shi-Hua（扶桑詩話）by Tian Tong（田桐）, in order to highlight the valuable role that the Society plays in the study of modern Chinese poetic theories. In addition to the examination of the authors’ lives, writing backgrounds, and how their works were published and circulated, this essay also investigates how the authors introduced, translated, and made comments on Chinese poems written by Japanese writers. Through a close and comparative reading, I emphasize the specialty, creativity, and limitation of modern poetic theories in comparison with traditional poetic theories. Influenced by Chinese culture deeply in history, Japan has a long tradition of writing Chinese poetry. After the Meiji Restoration, many Chinese went to Japan to study modern knowledge and investigate the successful experiences. In the twentieth century, Classical-style poetry was abandoned by aggressive promoters of modern vernacular literature, but remained energetic in multiple theoretical narratives. Chinese poems of Japanese authors in the late Tokugawa Period （幕末）and the Meiji Period（明治）were introduced to China and appreciated by Chinese poets and readers, and this phenomenon also demonstrates the continuous influence of Chinese poetry oversea during the period.