朱天心〈古都〉一文藉由多重的時空向度、繁複的文史典故開展對自我、族群、歷史、城市的多元省思。歷來評論者針對該文的內蘊義旨已多所闡發，惟對於小說的敘事策略、藝術經營猶有論述空間。本論文嘗試掌握文中的核心典故──陶潛〈桃花源記〉 、川端康成《古都》 ，藉由剖析小說的美學技巧，以「桃源」意象為探究焦點，剖析敘事者如何或隱或顯地運用「桃花源」此一文化符號，備述歷經桃源「歸人」 、 「過客」 、 「棄兒」等多重身分認同歧異的過程；並闡釋文中如何翻轉、延伸、擴增乃至顛覆「桃花源」意象，賦予其相反相成的弔詭意涵，開展「桃源」輾轉相寄的生命軌跡，從而彰顯敘事者既屬「桃源精魂」又復為「偽武陵人」、在歷史失憶/拾憶與原鄉離去/歸來之間錯綜徬徨的流離情結。

In "Ancient Capital" ( 古都 ), Zhu Tianxin ( 朱天心 ) employs the device of multiple space-temporality and sophisticated cultural allusions to under-take multi-faceted reflections on the self, ethnicity, history, and the city. Previously scholars have done a lot to explicate the meaning and implica-tions of this work; nonetheless, much remains to be said about its narrative strategies and aesthetic techniques. In order to dissect its aesthetic tech-niques, this paper focuses on the fiction's central allusions, namely, Tao Qian's ( 陶潛 ) "Taohuayuan ji" ( 桃花源記 ) and Kawabata Yasunari's ( 川端康成 ) The Old Capital ( 古都 ). I concentrate on the central image of the "Peach Blossom Shangri-la" ( 桃花源 ) to reveal how the narrator, either overtly or covertly, uses this cultural symbol to describe the processes as well as the different levels of identification that she goes through: from a person returning to the "Peach Blossom Shangri-la," to a pure passer-by, and finally to a state of being abandoned. I demonstrate how the trans-formation, extension, broadening and even deconstruction of the "Peach Blossom Shangri-la" image is undertaken by Zhu to infuse the image with a paradoxical quality of both being contradictory and complementary. In the end, my goal is to layout the twisted yet interconnected processes of the image's life-path in "Ancient Capital." I contend that the narrator is both an embodiment of the "Peach Blossom Shangri-la" spirit, and a fake "Wuling fellow" ( 武陵人 ) at the same time; that she displays a distinctively diasporic complex entangled with the loss and recovery of historical memory, as well as the exile from and the returning to a homeland.