本文旨在探討白居易閒適詩中，床與舟兩個特殊的空間。先從白居易對床與舟的書寫，解析其中寓藏的空間隱蔽性與敞開性，並透過空間詩學理論提拈出其不同向度的家屋角落意義，掘發其多元的幸福意涵與樂園象徵。同時討論白居易藉由身體姿勢的描寫所蘊藉的心理意向，證成床境舟境的展現旨在標舉詩人的價值擇取與生命境界，其實是藉詩歌來敞開詩人自己。最後以圖表展開床與舟這兩個家屋角落的幸福路徑與樂園鎖鑰。本文論證白居易閒適詩多次以床與舟並舉，創造了隱蔽與敞開兼容的空間，具有多層重疊交融的特性。尤其舟意象作為移動的家屋，在「微宇宙」中體現芥子納須彌的奇幻弔詭、在流動的一體感中與天地合一。其閒適詩不只在書寫生活情味而已，更是他傲然展示理想人生典範的廣告，展示床枕與舟船神祕的異質特色，更是他的幸福角落，具有重重的樂園意義，最後證明舟床相關的閒適詩，詩歌本身就是一種隱蔽與敞開兼具的空間。

This article aims to explore the two special spaces of bed and boat in Bai Juyi’s leisurely poems. Starting from Bai Juyi’s writings about bed and boat, we analyze the concealment and openness of space con-tained in them, and through the theory of spatial poetics, we propose the meaning of the corners of the house in different dimensions, and explore its diverse meanings of happiness. Paradise symbol. At the same time, we discuss Bai Juyi’s psychological intentions through the description of body postures, proving that the presentation of the bed state and boat state is intended to mark the poet’s value choices and life realm. In fact, he uses poetry to open up the poet himself. Finally, a diagram is used to unfold the path to happiness and the key to paradise in the two corners of the house, the bed and the boat.