本文以《全唐詩》中以「海」為詩題且以海洋為書寫創作主體的五十首海洋 詩為對象，論其兩大共相與四項異采。兩大共相指作品的共同面貌，包含以摹景 狀色來構成基本的詩境圖象，以及以引典說仙作為主要運用的敘事手法。在五十 首「題海詩」作品中，前者約佔八成比例，乃由海景實象的摹寫與海性虚象的渲 托所分用或交織融會而成；後者約佔六成比例，乃由神山仙人、秦皇漢武、其他 典籍等三大系列共同展現，且特別傾向於神話傳說的徵引與闡發，並運用了穿插 典故於海洋書寫中與以海洋典故為書寫重心等兩種敘事手法。四項異采則指個別 詩作的主旨意涵所展現之特色，分為從議論的角度來抒發心志、評事論世，是為 「由議海而抒志論世」；從詠嘆的角度來寄寓意涵、思古感悟，是為「由詠海而寓 意思古」；從送別的角度來寄託離情、懷歸故里，是為「由送海而寄情懷歸」；從 泛海的角度來寫現實海境、渡海避世，是為「由泛海而寫境避世」。

This paper examines 50 sea poems of the Tang dynasty to review two similarities and four differing characteristics. The two similarities, the common features in the works, include the use of natural imagery in portraying and conveying basic themes and the use of allusions as the main narrative technique. The first mentioned usage was found in about 80% of the 50 sea poems. The poems contained actual descriptions of natural imagery interwoven with metaphors and metonymies. The latter mentioned were found in about 60% of the poems and often used allusion to gods and mythical creatures, Qinhuang Hanwu and other classics. Myths were the most frequently cited or paraphrased in the poems as reference or to progress the main theme. The four differences emerged in the usage of nature as the theme: some spoke of the poet’s mind or commented on events or the world the poet lived in. Here the sea served as a medium to express the poet’s thinking; some meant to trigger emotions and reflect upon the past with poetic language. The sea became an excuse for deep contemplation on the old days. Yet several others spoke of parting and homecoming. These farewell poems spoke of not just departure and separation, but also of returning home; the rest were about sailing across wide expanses of water. To the poet, sailing away hinted at the possibility of finding a secluded paradise away from the secular world.