本論文旨在從「自省的詩學」的視角，探討宮澤賢治文言詩「兒童針織衫與鹹魚」的生成過程，並揭示其詩意的展開動態。此詩的構思契機，可追溯至賢治於 1928 年所經歷的水利事業與旱災問題。然而，隨著反覆修
改，其主題逐漸產生顯著轉變。約在 1931 年的草稿中，詩中描寫了農民陷於商品經濟與沉溺於酒色的現象，反映出作者對農村現實的批判意識。然而至約 1933 年，經歷在東北碎石工廠擔任技師期間的挫敗後，賢治開始深刻反思自己過去將理想強加於農村社會的態度。這樣的內省使得「兒童針織衫」的意象逐漸成為詩作的核心。最終，賢治不再以批判的視角凝視農民，而是將自身過往的行動與思想，乃至對其所產生後果的反省，凝縮於如「藻草花菓子」等具有多重象徵意涵的詩句之中。本論文試圖論證，「兒童針織衫與鹹魚」乃一部融合自我批判與詩性昇華的作品，亦可視為賢治晚期創作的重要高峰之一。
This paper examines the creative process of Miyazawa Kenji’s classical-style poem, "Small Knitwear and Salted Fish" from the perspective of a "poetics of self-reflection" to clarify its thematic development. The poem was initially conceived from Miyazawa's experiences with irrigation projects and drought issues in 1928, but its theme transformed significantly as it was revised. A draft from around 1931 shows a critical perspective on farmers trapped in a commercial economy and their indulgence in alcohol. In a draft from around 1933, following his setback as an engineer at the Tohoku Crushed Stone Factory, he reflected more deeply on his earlier attempt to impose his own ideals on the farming villages. As a result of this introspection, the motif of 'Small knitwear' became central to the poem. Ultimately, Miyazawa pulled back from a critical perspective on the farmers, condensing his past activities, thoughts, and self-reflection into multi-layered symbolic phrases like "mo-gusa-hana-gashi" (a compound poetic image). This paper demonstrates that "Small Knitwear and Salted Fish," which attempts to integrate self-criticism with poetic sublimation, represents a pinnacle of Miyazawa Kenji’s later creative work.