本文旨在通過對南宋一百五十年的淮河詩進行素描，並以抽取出其 特徵為目的。
到了北宋中期，以淮河和淮河流域為題材的詩歌，開始具有了明顯 的新個性，即置位於都市的喧嘩和權謀之對立面，作為促使精神解放的 景物得到正面描寫。然而以靖康之變為界，這一情形發生了巨變，並在 直到元朝統一為止的歷史長河裡，淮河成為了和敵對國家之間的邊境 線，對於南宋詩人們來說，淮河成為迫使他們面對眼前半壁江山的殘酷 現實，常常意識到緊張現實狀態以及屈辱處境的風景。
本文將考察南宋詩人是如何描寫擔負這一新任務的淮河。然而與北 宋不同，南宋時期曾有漂浮淮河之上經歷、曾親眼眺望過淮河流域風景 的詩人的確很少，北宋時期，幾乎所有的詩人都曾經在宦游途中往返南北之時漂浮於此河之上，都曾觀望過淮河流域的山水風景。而在另一方 面，南宋的淮河流域因為是軍事防衛前線，因此被派遣到淮河流域各城 市的知事、通判幾乎都是武官和軍事家，因此他們之中沒有人作為詩人 流芳後世。
在此狀沉中，只有赴金使節或前往邊境接送金使的文官纔被允許接 近淮河北岸。本文在第三節裡，將通過掃視遣金士大夫的詩歌作品，論 述淮河是如何顯現在他們眼中的，以及其特色。在這裡我們可以看到他 們吐露著不同於北宋的那種來自緊張之後的解放戚。在第四節裡將考察 曾被派遣迎送金使，並留下了南宋最多淮河詩的楊萬里的淮河詩。楊萬 里與陸游不同，我將考察他的詩歌裡幾乎沒有寫到愛國憂國這一事實到 底意味著什麼。
第五節和第六節將論述非士大夫詩人即江湖詩人如何歌諌淮河。第 五節裡以姜夔、劉過、戴復古三個詩人為例，以他們為何去淮河流域旅 行為中心進行考察。第六節則通過此外的江湖詩人的作品，窺視他們不 同於士大夫詩人的淮河詩的作品特徵。
第七節主要以汪元量、黎廷瑞、尹廷高的作品為中心，論述元朝統 一之後，結束了作為邊塞使命的淮河如何出現在宋末元初詩人視野裡。
淮河是抽象反映南宋社會狀態的一面鏡子，因此，在歌諌淮河的詩 歌裡諸如悲憤、激昂、憂愁、悲哀以及失落、絕望之類的負面情緒都被 沉悶地表現著。即便是經歷了元朝統一，這一在漫長的一百五十年間重 複再生的情戚，依然被路過淮河的詩人們不斷回憶表現。

The Huaihe river has inspired poets for many years, especially in the Northern Song Dynasty (AD 960-1127), the Southern Song Dynasty (AD1127-1279), and the Yuan Dynasty (AD 1271-1368). The poetry of Huaihe river was, however, changed dramatically between the Northern and Southern Song Dynasties. In this essay, I discuss the reasons why this happened from the social and historical points of view. My opinion is that the poetry of the Huaihe river in the Southern Song Dynasty is made from the patriotic sentiment of poets.
The early poetry of the Huaihe river had been established by the middle of the Northern Song Dynasty. It was often described as a favorite object of scenery that liberates the spirit of poets from the bustle and wiles of the city. However, the Northern Song Dynasty was invaded by the Jin Dynasty in 1127 (the conflict of Jingkang) and forced to lose its northern territory beyond the Huaihe river. Since then and until the unification of the Yuan Dynasty, the Huaihe river had been just a military border that not only protected against hostile neighbors but also sorrowfully separated their own country into halves. Thus, the poetry of the Huaihe river in the Southern Song Dynasty became a symbolic object of scenery that continually forced poets to feel tension and humiliation.
I would like to point out that the poetry of the Huaihe river in the Southern Song Dynasty was also affected by the professional mentality of so-called poets. In the Northern Song Dynasty, many bureaucrats traveling north or south across the Huaihe river on duty must have played on a boat in this great river and enjoyed the spectacular scenery of surrounding mountains. Thus, the poetry of Huaihe river made by such beurocratic poets must be glorious, spectacular, gorgeous and relieving. In the South Song Dynasty, however, reflecting its military tension, only professional soldiers or military officers could visit there as local governors, none of whom was recognized as a poet by later generations. For these people, the Huaihe river was just a military object but not a favorite object of scenery. In such circumstances, only civil officers who sent off or met an envoi for or from Jin in the border could cross the river and approach the north shore.
In Chapter 3, I introduce some examples of bureaucratic poets who came to visit Jin and summarize how they feel the poetry of the Huaihe river. I noticed that these poets are free from the tension and always feel relaxed, but have a different sense of freedom from that felt by poets in the Northern Song period.
In Chapter 4, I introduce Yang Wanli, an envoi attendant who created the largest number of poems on the Huaihe river, and discuss why he did not compose poems on the devotion to his country or patriotism, which were typically seen with Lu You.
In Chapters 5 and 6, I discuss how civilian poets (or non-bureaucratic poets) composed the poems on the Huaihe river. In Chapter 5, I consider three poets, Jiang Kui, Liu Guo, and Dai Fugu, and discuss why they went on a journey to the Huaihe River. In Chapter 6, I discuss the poems composed by other civilian poets, which were distinct from those made by bureaucratic poets.
In Chapter 7, I mainly discuss the poetry of Huaihe river in the late Son Dynasty and the early Yuan Dynasty, introducing the poems by Wang Yuanling, Li Tingrui and Yin Tinggao, because the role of the Huaihe river
as a frontier fort was terminated with the unification of the Yuan Dynasty.
The Huaihe river may be considered as a mirror that most symbolically reflects the reality of the Southern Song Dynasty. The poetry of Huaihe river in this era includes negative feelings such as resentment, excitement, grief, sorrow and resignation. All such emotions were repeatedly composed as poems throughout the 150 years of the Southern Song Dynasty. Furthermore, similar poetry was often conveyed to poets who crossed the Huaihe river even after the unification of the Yuan Dynasty.