詩人顧城作為理解中國大陸一九七○年代以來朦朧派詩話語與宏大政治敘事辯證現象的重要路徑，其相關研究可謂汗牛充棟。但顧城相較其他朦朧詩人在研究上另外存在的「童話」關鍵字，使得顧城在不同關鍵字引動的不同系列論述中，呈現出具時代意識與遁入童真想像拒絕成長兩種衝突形象。故在不同的論述中，呈現具時代意識與遁入童真想像拒絕成長兩種衝突形象。隨著顧城寓言故事詩手稿的出土，恰正能處理此一衝突，然而學界目前卻沒有任何顧城手稿的研究。顧城寓言故事詩手稿在文本結構上高達51.92%具有尾段刪改，而刪改類型則存在避免直指讀者與寓意的意識。由此可以發現顧城寓言故事手稿的刪修存在與政治大敘事的對映，也拆解了定稿表面所呈現童話寓言的層次，呈顯其特有訴求讀者自行咀嚼發現尾段結構修辭所遮蔽的朦朧意旨。

Gu Cheng was considered the most representative poet of the Misty poetry in China emerged in the 1970s. In the past, scholarship on Gu’s poems focused mainly on the dialectical relation between the poetics and the political concerns of the poet. In recent studies, researchers began paying more attention to the use of allegory in his works. Gu used allegories to create a fairyland, a world of childhood innocence, according to some critics. This paper sets out to explore why and how Gu reacted against the restrictions on art during the Cultural Revolution with metaphors of innocence in his allegorical poems. An analysis of Gu’s allegorical poems in his manuscripts shows that the poet wrote on purpose to both contradict and concur the theme of innocence and of experience. The contradiction and correlation of the oppositional themes were made to hide his radical social and political critique between the lines. To conceal his real intentions from the reader, the poet used to delete words or cross out sentences in the final stanzas of his poems. Disclosing the allegorical meanings and the obscure references in his works, I argue that Gu created a literary world to write against the grand narrative of Chinese Communism.