本論文運用宗教人類學分析李商隱的詩，示範其泛用典故，其功能可以視為幻想的借代，局部就是為了全部，而全部也是為了局部。他的用典雖然含有許多世俗的故事、神話，其實相關到「原始」宗教之超越時空的原型。他所採用之民間故事，可以視為「神靈之彰顯」（hierophany），轉換成為「過關儀式」（rite de passage）， 而走向上古的神靈性質，其神靈性質已經超越歷史時空，成為宗教典範之形式。其神秘的典故，造成後世用典濃厚的西崑體詩頗有「原型」的宗教意義。其宗教意義只能通過結構性讀法而得來。

This article aims to apply anthropology of religion to criticize Li’s poems, and demonstrate that another function of the allusion extensively employed by Li Shangyin is the imaginary synecdoche as a part for the whole and the whole for a part, which links his profane allusions to the atemporal archetypes of the “primitive” religion. His use of mundane legends as “hierophany” becomes a “rite de passage” to the archaic sacredness which is both ahistorical, and transcends time and space as a modal form of religion. His arcane allusion evokes a role of “archetypal” religion in Xikun style poetry, only acquired by textual experience in the light of structuralistic reading.