本文結合幽默認知理論的「失諧—解困」與幽默治療理論，探討白居易幽默詩具有苦中作樂以及解困超越的作用，蘊藉著詩人自我標舉的表徵意義。共分六個部分：一是定義幽默詩，提出失諧為先決條件，並觀察白居易幽默詩的概況。二是討論白居易刻意強調「謀歡」、「取樂」的努力追求，把自己圖現為擅長談笑的幽默狂翁，具有自我標榜與標籤化的意味。三是討論白居易幽默詩的幾種類型及其情感狀態，做為後文討論的基礎。四則探討白居易幽默詩作中幾種苦中作樂的類型，看見他從憂苦之中翻轉出來的幽默感，剖析其中的心理曲折。五則衍繹「失諧—解困」理論，析論詩人以誇誕的失諧形象解構固化的秩序與險惡的網羅，藉以自由安全地遊舞於人間世。六則結合幽默療法與荒誕美學的理論，從生理與心理兩個層次的多個面向分析白居易幽默詩作的治療意義與表徵意義。

This article combines the “disharmony-relief” theory of humor cognitive theory and humor therapy theory, and explores that Bai Juyi’s humorous poems have the functions of making fun in hardship and relieving difficulties and transcendence, and contain the symbolic meaning of the poet’s self-marking. It is divided into six parts: The first is to define humorous poems, put forward dissonance as a prerequisite, and observe the general situation of Bai Juyi’s humorous poems. The second is to discuss that Bai Juyi deliberately emphasized the pursuit of “seeking pleasure” and “making pleasure”, and presented himself as a humorous man who is good at talking and laughing, with the meaning of self-promotion and labeling. The third is to discuss several types of Bai Juyi’s humorous poems and their emotional states, which will serve as the basis for the following discussion. The fourth part explores several types of joy in suffering in Bai Juyi’s humorous poems, and sees his sense of humor flipped from suffering and analyzes the psychological twists and turns. The Five Principles derive the theory of “disharmony-relief”, analyzing and discussing the poet’s deconstruction of solidified order and sinister snares with exaggerated disharmony images, so as to dance freely and safely in the world. The six combined theories of absurd aesthetics and humor therapy, analyzing the therapeutic and representational significance of Bai Juyi’s humorous poems from multiple aspects of the physical and psychological levels.