〈孔乙己〉，臺灣舊時書房最初階習字常用教材，雖只是一篇廿八字短文，卻曾經是本地漢人童年最初經驗漢字書寫文化原點。當從個人生命經驗累積成為社會文化歷史記憶過程影響所及，包括戲曲、說唱以至器樂等表演藝術，皆出現過吸收引用〈孔乙己〉，分別形成特定曲（劇）目現象。然此「上大人」文化現象，包括當年曾普遍流行的習字教材，於今臺灣社會猶然近似歷史陳跡，罕見能再復現，亦少有人能理解全貌。本文分析主要在此「上大人」文化歷史發展現象範疇，經由亂彈戲《上大人》劇保存現象以至作品內部所涉及歷史知識考掘，延伸至於其他樂種曲目歷史現象的系譜性考察，終於重新審視文化的經驗傳承，尤其最一般日常人文知識，透過不同藝術表現而有多重樣態存在可能性。以及對此紛呈多樣外觀，經由不同藝術創造卻明顯可見源自同一題材，當初孕育此一現象傳統社會的文化內涵之於當代重再經驗認識與再理解詮釋的必要性。

Kong Yiji was a popular early text for learning Chinese characters in Taiwan. With a total of only twenty-eight characters, it was brief in length but important culturally because it was the starting point for many Taiwanese pupils in their acquirement of Chinese written texts. The familiarity with Kong Yiji was reflected through the constant adaptations of the text in traditional performing arts, and most prominently in the repertory of different theatrical operas. The phenomenon—also known as Shang-Da-Ren phenomenon—became obscure with the passage of time and its historic significance has largely been neglected. This paper explores the Shang-Da-Ren phenomenon and its cultural and historical development through an archeological study on the Luantan script of Shang-Da-Ren. By expanding the scope of the research to genealogical analysis of related musical genres, the author traces the lineage of cultural aesthetic experiences, especially how a common piece for basic language learning can find expression through different art forms and ultimately survive the multitudinous cultural changes. The diversity in different artistic renditions of the text indicates the necessity to uncover the impact of the culture nurtured in the primitive society upon cultural understanding and contemporary artistic experiences in Taiwan.