本文主要以李白和海子为例，探讨了酒神精神在中国古代诗歌和现代诗歌中的不同表现。中国古代诗歌中的“酒神精神”是“诗酒精神”，更多的表现为诗意，即一种模糊的美学感应和审美体验，其表现状态是“醺”；中国现代诗歌受到西方文学和理论的影响，“酒神精神”表现为哲思，即对人生意义和生命本质的形而上追问，其表现状态是“醉”。诗意强调的是对生命和存在的感受，哲思则注重对生命和存在的思考。但在诗意和哲思背后，一以贯之的是以人生有限性对抗无限的努力，用艺术解决人生痛苦的尝试和解除个体束缚的趋向。

This article mainly uses Li Bai and Hai Zi as examples to discuss the different manifestations of Dionysian in ancient Chinese poetry and modern poetry. The "Dionysian" in ancient Chinese poetry is "poetic spirit". It is more often expressed as poetic flavor, which is a kind of vague aesthetic sense and aesthetic experience. Its performance state is "tipsy"; Chinese modern poetry is influenced by western literature and theory, "Dionysian" manifests itself as philosophizing, that is, metaphysically questioning the meaning of life and the essence of life. Its performance state is "drunk." Poetic flavor emphasizes the feelings of life and existence, while philosophizing emphasizes thinking about life and existence. However, behind the poetic flavor and philosophical thoughts, what has always been consistent is the struggle of unlimitedness with limited life, the use of art to solve the pain of life and the tendency to release individual bondage.