歸田是中國文學史上的重要書寫主題之一，也是傳統士人階層藉由文學載體展現心靈風貌與情志取向，並作為面向文學歷史、文化承傳、群己關係、人生理念等重要人文範疇的回應與投射。因此透過歸田書寫這一心靈鏡像，我們或應可從其中探索出攸關作者內在生命姿態及其自我觀照的一些重要訊息。 綜合陶淵明〈歸去來兮辭〉、柳宗元〈夢歸賦〉及其相關詩文的考證，對於由屈〈騷〉引領的歸返書寫，既是辭賦發展史上重要的傳統書寫主題之一，同時也成為後代辭賦歸返論述的原始基調。 透過柳宗元迥異於傳統歸田書寫的辭賦風貌，促使我們有必要重新審視歸田典範陶淵明作品裡的文學話語及其深層底蘊，然則柳宗元〈夢歸賦〉於此提供了重要的觀察脈絡，此外，亦進而揭示傳統歸田文學中歸返、夢幻、焦慮三者一體的創作底蘊。而藉由三者一體的特殊面向，應可為傳統辭賦文學中所引領開展的歸田書寫，重新更清晰地鉤勒出其中主要的建構質素與論述脈絡，並關涉二者問同中有異之交集與異趨面向。

Guitian (歸田, return to the fields) is one of the most important themes in Chinese literature and was traditionally used by writers as a vehicle for expressing their thoughts and ambitions. As such works in the guitian tradition can provide us with a mirror on the inner life and view of self of these authors. Works by Tao Yuanming 陶淵明 and Liu Zongyuan 柳宗元 using this theme (i.e. Guiqulaici 歸去來兮辭 and Mengguifu 夢歸賦) and other related pieces combine to make up an important stream in the development of the cifu 辭賦 literary tradition that was started and fleshed out by Qu Yuan 屈原. The fact, though, that Liu Zongyuan’s work differs fundamentally from the style of other works in this tradition makes it necessary for us to reconsider our understanding of the literary discourse and the deeper meaning of Tao Yuanrning’s work. As such, Liu’s work can give us an important vantage point from which to view this tradition and points to the unity in the guitian tradition of the motifs of returning, dreaming, and anxiety. This unity of motifs in turn allows us to see more clearly the major structural elements and discourse that are involved in works in the guitian tradition and is a va1uable reference for exploring this is important literary theme.