本文探究柳如是初期創作《戊寅草》，探討㆔種截然不同的文體「詩」、「詞」與「賦」的文學創作。柳氏詩作題材新穎紛雜，有哀頑柔豔的傷柳閨怨之作，亦有壯志凌雲的擊劍之作。在屬於「近情」的詞作㆖自抒性情、書寫兩性情愛。賦㆒直以來都是男性從政的書寫實踐，更與忠君／勸諫／道德關係緊密，柳如是歪寫男㆟女神戀愛，並以序言杜絕政教集團忠君勸諫聯想，將深入解讀〈男洛神賦〉性別異位的嶄新文本策略。賦體向來隸屬於男性專擅的文體，在柳如是筆㆘成為委婉言志、僭越性別文體界線的文學形式。她對文體的多方嘗試，正反映這位敏感多思的女作家，對自我定位的深入思索，亦以開創精神探索文學實踐可能的方向，最終完成建立功業的理想。

This article will focus on Liu Rushi’s 柳如是 early writing, Wuyin Cao 戊 寅草（Writings Written in the Year of Wuyin）through an investigation of the genres she used: shi (poetry), ci (lyric poetry) and fu (rhyme-poetry). The subjects of her poems are multifaceted: bitter feeling, sadness, aspirations for success and other concerns. As for the lyric poetry, Liu uses the poetic genre as a medium to express her innermost personal feelings and intimate love passion. Rhyme-poetry is traditionally a masculine genre monopolized by male writers to express their loyalty, admonitions to the ruler, usually with strong moral implications in it. However, while engaged in writing rhyme-poems, Liu intentionally twisted the generic conventions in “Ode to the God of Lo River”（男洛神賦）to depict the love affairs between male protagonist and the goddess, and she also used the preface to subvert the conventional use of this genre to offer admonitions to the ruler. This switching of gender position in her writings will be the focus of this paper: how a traditionally male-dominated, male-monopolized genre was used by a female writer to meet her own purpose in her own ways. The various experimentations of twisting conventional uses of genre in effect reveal a deep thinking in Liu Rushi who tried to get out of the boundaries imposed on woman writers in traditional Chinese society.