「騎驢詩人」在中晚唐之際成為饒富詩意的文化意象，北宋詩人更傾心於這一題材 的歌詠。本文將先探討騎驢詩人從唐代到宋代的意涵轉變，考察此一文化意象在歷史進 程中的典範重塑。接著選取唐宋詩人中寫下最多騎驢詩的陸游 (1125-1210)，作為個案分 析的對象，論述他如何以實踐性的姿態，思考自我與騎驢詩人傳統的關聯；又如何完成 對騎驢文化意象的創造性實踐。陸游最突出的表現來自於實際體驗與日常生活，此一實 踐性的書寫與行動，不僅呼應了騎驢詩人典範，同時賦予此一文化意象豐富多元的精神 內涵。從這個角度來考察陸游對此意象史的創新，不僅有助於進一步理解陸游的詩歌創 作與精神世界，也有助於認識文學意象傳統與詩人自我形象表現之間的相互關係。

This article investigates Lu You’s 陸游 (1125-1210) poetic self-image from the perspective of the cultural trope of riding donkeys. It first discusses the poetry produced by “donkey riding” poets during the Tang and Song dynasties, noting the significant transformation this theme underwent over the course of this historical period. It then turns to an analysis of Lu You’s poetry on riding donkeys. Lu You composed poetry on this theme throughout his life and it came to symbolize his selfimage and self-consciousness. Unlike earlier authors, Lu You’s most notable poetry was produced from his actual experiences, and this cultural image informed both his personal conduct and his poetic compositions. Through a careful study of the poems he wrote late in life, which incorporated the theme of riding donkeys to present his selfimage, we can attain a deeper understanding of the relationship and interaction between the literary tradition and the image of “the poet.”