本文從「追憶書寫」的角度切入，重新省視元白相關作品，以比較對照的方式呈顯詩中追憶書寫的兩型，並從中探討元白詩追憶書寫的表見。文中分兩部分探討：短篇觸物而發的隨機書寫，兼及唱和與非唱和兩種種式，以「觸媒」為敘述脈絡，其中包含關於季節的氣息、感官的記憶、空間的要合…，種種觸引「往事重現」的追憶書寫；甚至是以「夢」的形式回到過去，都具有「非自主」的回憶性質。這類詩掌握一個短暫的情緒感發為主，在有限的篇幅中，都企圖指向豐富生活世界的全面。相對的，另一類長篇唱和的追憶書寫，詩人不僅是有意識的從事追憶書寫，並對此書寫意義有高度自覺；其講究表現形式，以「曲盡」的文學筆法，達成「淨化」的文學效果。此部分先闡述作者如何從「由今視昔」的角度諦視自我，真切生動的塑造過往的生存經驗，進而提昇自我的覺知，走出生命迷惘。這些長篇追憶詩，以區塊拼貼方式，集中對青春、愛情、仕宦經歷的重建和書寫，以「命運底蘊在的探問」為核心，雖偏重有所不同，但交錯互涉，呼應與連鎖的性質，則十分明顯。整體由追憶書寫的角度來看，元白百韻長篇唱和詩組，無論就書寫意識，或往事重現的幅度，以及抒情濃度三方面，都是相當獨特而傑出。

This article discusses the rememberance-writing in Yuan and Bai's poems and separate them into two parts: the short and the long, The short usually are written by accident, poet was moved because of some occasional incident (it can be a voice, a blow of wind, a scenery), those things made poet recall something alike or something had happened, and wrote the short poems. The long were written on purpose, and they were painstakingly arranged. Their life experience of youth, romance, the pursuing of beliefs were perfectly plotted in the rememberance-writng.