本文的主要内容是：在考察杨万里人格结构与思想结构的基础上追溯其诗学思想源流、思考理学思潮与人格理想对其诗学的影响，系统分析和论述其诗学思想和人格境界中“道心”与“诗心”的双重维度及其对中国文化传统和理学中的德性伦理精神的承担与超越。　　　论文的第一部分是相关文献综述、选题说明以及宋代诗学语境概述；第二部分的内容是杨万里的人格与思想结构：杨万里对自身政治家、学问家和诗人的身份认同及人格理想；杨万里的儒学思想与“乐”的情怀。　　论文的第三部分“杨万里诗学思想源流”：在杨万里的诗学思想中，“感兴”是诗歌发生论，“诗味”是诗歌本体论，“性灵”表现为他的诗学观念与诗歌创作中对真性情、真美的崇尚，有畅游山水、寄意于山水的风雅之怀、真挚之情与闲适之趣，以天地为至美、逍遥自得的人生态度和自由的人生理想、冥会自然的思维方式。第一节“感兴”说考辨：从杨万里的“感兴”说追溯中国诗学中的“感兴”精神传统。“感兴”说的产生、传承与深化是对诗的“吟咏情性”本质的肯定，是对自由诗心、真诚诗情、灵动诗意、心物交融之诗境的推崇；第二节论述杨万里“以味论诗”的诗学思想与中国诗学中“诗味”论的渊源：杨万里对于诗的言语形式之外的“味”的肯定和重视，并赋予其本体的意味，这是对诗的独立价值和“自性”的肯定。诗“味”是诗的沉默之处，只能靠读者的审美感受和鉴赏，这表明杨万里注重读诗、品诗过程中个体的审美感受、直觉体验、本心体悟与诗的不可言说之“味”相遇瞬间的精神相通。第三节论述杨万里“性灵观”的内涵及渊源：现存资料中，杨万里谈论“性灵”的记载很少，而他却被很多研究者奉为性灵思想的先驱，“性灵”二字沟通着人类的理性世界与感性世界、诗与思、哲学与审美，后人在评价和总结其诗学精神时冠之“性灵”二字，是对杨万里的诗学精神与诗歌创作的充分肯定。　　论文第四部分论述杨万里的诗歌功能论、诗歌风格论、方法论及其与理学精神的关系。第一节主要内容是杨万里的诗歌功能论及作家修养论，他以“载道”、“明道”为文章功能，以“矫天下之具”为诗歌社会功能和价值；在作家修养方面，杨万里继承了传统诗学中的文品——人品论，认为要有独立的主体精神和自由的道德人格，内心之德性会自然投射在文学中，才有可能写出“矫天下”之诗文。第二节是杨万里的诗歌风格论：在语言风格方面，杨万里认同儒家诗教“温柔敦厚”“含蓄蕴籍”的美学风格，从根源上来说，这是儒学的道德心性论与人格理想在诗学中的投射。第三节是杨万里诗学思想中关于诗性、诗材、诗法的观点及其与理学、中国哲学精神的关系。论文的结语部分“道之为艺”是笔者对于“道”与“艺”、美学与道德关系的一些思考和理解。

This dissertation investigates the structure of Yang Wanli’s personality and thoughts, the origins of Yang’s poetics, the influence from Li Xue and personality ideal, and then makes a systematic analysis and discussion of the two minds of “Dao” and “poetry” in his poetics and personality, as well as his assumption of and transcendence to the moral spirit in traditional Chinese culture and Li Xue. 　　　The first part is about literary review, the significance of the topic and the sketch of poetics in Song Dynasty. The second part goes to the structure of Yang’s personality and thoughts: his identity of the role of statesmen, scholar and poet, and ideal personality; his Confucian thoughts and “happy” mood.　　　The third part examines the origins of Yang’s poetic thoughts, according to which,“Ganxing” is the genetic theories of poetry, “poetic flavor” the ontology, while “Xingling” concept manifests as his advocacy of true nature and beauty, for example, an elegant, sincere and leisurely affection found in rioting in the landscape, a free and unfettered attitude towards life, losing himself in heaven and earth, as well as a natural way of thinking, etc. First, the study of “Ganxing” theory: to explore “Ganxing” theory in Chinese poetics from Yang’s study. The origination, transmission and development of “Ganxing” theory are the affirmation of poetry disposition, the praise for free, genuine and flexible feelings and for the blend of the mind and matter. Second, Yang’s theory about “poetic flavor” and the origins of this concept in traditional Chinese poetics. The fact that Yang gives a highly affirmation and importance to the poetic “flavor” and makes it the ontology of poetry echoes the poetic independent value. Here “flavor” refers to what is unsaid in the poem, which can only be felt and appreciated by the reader. This shows that Yang lays great emphasis on spiritual harmony between individuals’ aesthetic, intuitional experiences and the unspeakable “flavor” while reading and appreciating the poem. Third, the meaning of Yang’s “Xingling” concept and its origins: few as the documents are about his remarks on “Xingling”, Yang is honored as the precursor of this concept by most researchers. “Xingling” bridges the gap between reason and emotion， poetry and thought, philosophy and aesthetics. Yang’s poetic spirit is summarized in “Xingling” by later generations, which sings high for his poetic spirit and poetry creation. 　　　The fourth part illustrates Yang’s theory of poetic function, style and methodology, and their relation to Li Xue. First, theory of poetic function and writers’ self-cultivation: Yang distinguishes that the function of essays lies in “carrying and illustrating Dao”,while poetry is the “Tools that Correct World”, emphasizing the educational value of poetry to the society. As for writers’ self-cultivation, Yang continues the traditional unity of literary quality and moral quality, arguing that with independent spirit and moral freedom, the beauty of the virtue will naturally cast itself in literature, and then comes “the corrective” poems. Second, Yang’s theory about poetic style: in terms of style, Yang agrees with Confucian gentle and kind poetry with implicit expression; it has its source in Confucian morality and ideal personality. Third, Yang’s idea about the nature, theme,and methods of poetry as well as their ties to Li Xue and Chinese philosophy. In the conclusion, the author makes some reflection on the relation between “Dao” and”art”, aesthetics and morality.