本論文以瓊瑤早期作品中的歌德書寫為研究對象，以匿名學的觀點分析歌德羅曼史中的手記書寫與創傷敘事。作為一種文類，歌德文本常見的要素包括：荒廢陰暗的空間、鬧鬼傳說、以斷簡殘篇形式存在的手稿、祕密及其揭曉、女性人物被禁錮而企圖逃脫、敗德亂倫的逾越之舉。歌德羅曼史以愛情為主軸，加入上列成分。這些文本組成的要素經常從精神分析的角度來處理，關鍵概念如：詭異、疊影、分身、母性的賤斥、自我與他者的相逢與雜混。本研究一方面接受這些既定的分析取向，另一方面採取「匿名學」（cryptonymy）觀點分析文本中的由離散與離家所導致的集體與個人創傷。匿名學強調從文本的沉默、缺席、掩飾找出文本內欲蓋彌彰的祕密，而此祕密的揭曉，有可能是用以隱藏另一個祕密的蓋子。名／字（name/word）的功能並非指涉某人或某物，而是帶領讀者往多重分歧的路徑探險，找出虛構人物／作者／讀者／社會四方面息息相關的集體無意識所掩蓋的創傷。本論文針對《菟絲花》與《庭院深深》兩本長篇歌德羅曼史，以匿名學角度分析不同女性的不同情慾樣貌所帶來的罪惡感與自我覺醒兩極反應，並分析此二書如何以歌德類型來呈現特定歷史脈絡下人民的遷移以及女性的離家所帶來的創傷，以及創傷帶來的瘋狂或自我成長的二元結果。

This paper attempts to examine the early works of Qiong Yao that can be identified as Gothic Romance, and I will use the perspective of cryptonymy to analyze the significance of note-writing and narrative of trauma in these Gothic texts. As a genre, the Gothic texts often contain the following elements: a dark and deserted place haunted by ghosts, fragments of notes, secrets and their disclosure, the imprisonment of female characters and their escape, and moral transgression. These elements can be interpreted by psychoanalytical approaches, with key concepts such as the uncanny, the double, doppelganger, the abjection of maternity, the encounter and mixture of self and the other. This study accepts these key concepts as useful tools, and at the same time adopts the perspective of cryptonymy to go beyond individual psychology and to explore collective as well as personal trauma caused by diaspora and home-leaving. Cryptonymy emphasizes the importance of silence, absence, and concealment in the text, and how they keep secrets unknown but eventually disclose parts of these secretes. Gothic Romance is based on love story, adding the above-mentioned Gothic elements. The function of a name/word does not necessarily refers to someone or something, but to provides a guide for readers to explore multiple and divergent paths, in order to find out the trauma and collective unconsciousness of fictional characters/the author/the reader/and society as a whole. This paper focuses on two novels: Dodder Flower and You Can't Tell Him, using cryptonymic approach to analyze different desire formations of different female characters and the binary oppositions of the results of desire: sense of guilt and self-awakening. I will also explore the way the Gothic genre can be used as a tool to represent collective and individual trauma caused by diaspora and home-leaving. And these traumatic experiences also lead to two different polars: madness or self-growth.