本文主要依據柳宗元〈囚山賦〉等永州時期相關賦辭賦，重新審視柳宗元永州八記中閃躲於風景書寫背後的羈囚身影及其精神焦慮。從而檢視柳宗元永州八記與〈囚山賦〉等辭賦對照中的閱讀疑惑，究竟是作者前後創作態度的搖擺不定，亦或竟是柳宗元藉由永州山水書寫所發出的羈囚焦慮及其心海呼喚。永州八記對於柳宗元而言，不僅是一幅幅永州山水繽紛奇麗的風華再現，就其創作旨趣而言，更是一場藉由山水書寫及其文學演繹，並攸關謫宦逐臣與楚客羈囚所經緯交織的士人焦慮主題。藉由進一步將這兩種文類對照與整合的書寫重構，並輔以相關的柳氏書札等文獻資料，則柳宗元潛藏於永州八記山水書寫背後的謫囚焦慮，不僅得以一一浮現，並且從而亦映射出作者於山水實景的敘寫當中，曲折而深刻的謫囚心影。這些構成了永州八記游移於風景與焦慮二者之間的特殊書寫姿態。亦從而凸顯永州八記與永州辭賦二者間互為表裡的特殊重要關係。

　　　　　This article rethinks Liu Zongyuan’s exile anxiety during his Yongzhou period mainly based on Liu’s literature work created in Yongzhou such as “Chou-shan fu” etc. And this article also attempts to explain the readers` doubt, which may happen when readers correlately read his works created in Yongzhou period, whether Liu’s creation attitude changes all the time or he just wants to abreact his exile anxiety by Yongzhou’s scene writing. “Yongzhou eight essays” for Liu is not only a splendorous representation of Yongzhou’s scene but also a landscape and literature performance which enweaves the theme of exile anxiety of Chinese traditional intellectuals. Through the reconstruction of the two forms of literature and the information of Liu’s documents, Liu’s exile anxiety hiding behind the scene writing emerges and refracts his mind. These points not only construct the special writing position from scene to anxiety but also reveal the importance of the intertextuality relationship between “Yongzhou eight essays” and Yongzhou cifu.