呂林烏木早先的生活非常窮困，並且處於社會邊緣性的地位。他後來生意經營成 功了。但這主要是因爲他在其居住的小鎭上，創建了一個扶鸞敎派，而這改善了他個 人在精神與物質上的生活，並使其獲得了公眾的尊重。這些事發生於日本殖民政體中， 一個他旣反抗又服從的政體。依據該敎派的出版品、訪談資料、和其它歷史文獻，本 論文敍說了烏木的故事，並進一步檢驗了扶鸞如何是一種儀式，是多重作者所共同創 造的結果，並且如何是經文寫作慢動作戲劇的一個演出。由此中，我們可以看到扶鸞 活動如何建立了烏木個人和他的林姓姓氏的權威。我比較了扶鸞與歷史寫作、以及作 爲地方性文學精英的書法和詩文。具體而論，我比較了其間在神靈性力量傳遞這一方 面的差異和特殊性，此外，我認爲這種慢動作戲劇的儀式及經文中的內容，展現了和 西方關於自我和情感這些觀念間相當顯著的對比。

Liu Lin Wumu started out life very poor and very marginal. He had business success. But it was through starting a spirit-writing cult in the small town where he lived that he added to this success a cure of his personal spiritual and physical ailments and gained public respect. This happened under the Japanese colonial regime, which he both defied and obeyed. Based on the publications of the cult, on interviews, and on other historical documents, this paper tells the story of Wumu and then examines the manner in which spirit-writing as a ritual and as a multiply-authored and slow drama of written verse is performed to see how it established his authority and that of his Lin family name. I compare spirit-writing with history-writing and with elite calligraphy and poetry as a vernacular form of literacy. In particular, I compare their different and peculiar senses of transmission of spiritual force. In addition, I think the slow drama of the ritual and the content of the verses reveals significant contrasts to Western ideas of self and feelings.