乾元二年（759）秋，杜甫（712-770）棄官西行，居秦州三月，再遷同谷，寓居不及一月，歲暮又啟程入川。同谷居留時間極短，但詩人留存下〈乾元中寓居同谷縣作歌七首〉組詩，展示自己在倫理世界充滿殘破匱缺的創傷經驗，召喚了後代讀者的注目。除了相關評論外，後人並對〈同谷七歌〉進行仿擬，以具體的文字對原作經驗世界作「近似的再演」，以近似的篇章結構、修辭遣句，創造出類似而又未必完全疊合的境況。本文首先抉發杜甫〈同谷七歌〉中以其特殊形構展示的創傷經驗，然後梳理後代仿擬者所開出的三個主要系列—遺民書寫、哀悼書寫、政教書寫，分別觀察他們如何以自己的經驗與之同化而作近似的再演，並賦予新意，影響了後來者的仿作，最後進行綜合性的總結。期望藉由此一實例，具體彰明一個文本典範的形成過程，也是一個被反覆詮解以建構新意的過程。

In the fall of the second year of Qianyuan乾元in the Tang, Du Fu杜甫（712-770）quitted from his office, and moved to Qinzhou and Tonggu. He then arrived in Chengdu by the end of the year. His residence in Tonggu was short, but his poem “Tonggu Qige” 同谷七歌（Seven Songs of Tonggu）, which shows his traumatic experience in the world of ethics, has attracted attention from different generations of readers. In addition to the comments on Du’s work, his readers imitated “Tonggu Qige” as a type of writing in " similar recapitulation." This article first explores the traumatic experience of Du Fu’s “Tonggu Qige” in its special shaped configuration. Then the author divides those imitated works into three major series: loyalist writing, mourning writing, and politics writing, in order to observe how those works not only were assimilated to Du Fu’s as the similar recapitulation, but also created something new. Finally, the author conducts a comprehensive summary. By this article, we can find that the formation of literary paradigm is a process of being repeatedly reinterpreted and reconstructed.