本文以陳黎〈擬泰雅族民歌〉、〈擬阿美族民歌〉、〈擬布農族民歌〉、〈白鹿四疊〉、〈在島上〉五首擬原住民歌詩為討論對象。歷來論者大多置此數首擬詩於「後殖民書寫」的框架之中，以陳黎為「替弱勢族群發聲者／代言者」，然本文以為僅用此概念統括討論這幾首擬詩，可能會有簡化之虞，因此，本文試圖將這些詩作放回陳黎的詩書寫生命史之中討論，挖掘它們在陳黎詩書寫史中的另一層意義。本文認為，這些詩作雖以第一人稱口吻模擬原住民，但在代言意義之外，它們可能更指向詩人自身一直以來追尋原鄉母土的企望與行動，同時，也再現、重新鋪展了陳黎的樂園想像與消亡危機。

This paper aims to further discuss five imitation poems of Taiwanese indigenous people, including ”Imitation of Atayal Folk Songs,” ”Imitation of Amis Folk Songs,” ”Imitation of Bunun Folk Songs,” ”Parting In Egret: Ita Thaw As the Theme,” and ”On the Island.” In the past, many researchers tackle these poems merely in the frame of ”Post-Colonalism” theory, and they think of Chen-Li as ”a speaker for the minorities.” However, the author of this paper considers this way of interpretion may be too simple. The author deals with the poems by combining Chen-Li's personal history about writing. Besides, this paper aims to dig out more connotation during this process. In conclusion, the author argues that these poems not only show the meaning of ”Speak-for,” but also reflect Chen-Li's looking for the mother land and every try in his life. Simultaneously, these poems also reappears his image of paradise and the crisis of vanish.