本文以屈原，宋玉賦為例，針對中國辭賦史上極為重要的「神女論述」傳統，進行性別意識的尋根探源。尤其根據辭賦體所具有的政治對話性入手，一方面發現賦家如何以自美自戀的弱勢景觀，博取君王的同情賞愛，進而構築同性結盟的政治理想國；另一方面也揭露賦家所謂「失志不遇」的悲哀，其實是緣由君王視臣屬如女色的性別扭曲，以致在自我認知上無法解脫「封建閹割」的迫害陰影。換言之，女性化意象在辭賦中，就成為同是男性的君臣雙方，彼此交涉對應的身分籌碼；賦家如何出場，君王又是如何觀看，性別的模擬與轉換，正生動的刻畫了政治場中的角力網絡。

　　　　　This article, taking examples by Chu-Yuan's and Sung-Yu's odes, intends to seek the origin of gender sense in a very important topic of Chinese ode history "goddess discourse." Especially when we cut into the political dialogues of these odes, on one hand, we can find how narcissistic the ode writers render tender gestures to win the monarch's sympathy and patronage, then expecting to establish a political utopia by same gender's alliance; on the other hand, the sorrow of "not appointed to suitable post" (which is often referred by the ode writers) actually comes from the gender distortion that the monarch treats his courtiers as feminine gender, and therefore their self-identification can't get rid of the shadow from "feudal castration." In other words, the feminine images in the odes are just like encounter cards played between the monarch and his courtiers; both are male in gender. From the way the courtiers show themselves, and then how the monarch views their gestures, those gender imitations and gender changes vividly picture the fighting networks of the political stage.