【摘要】 聚焦吴伟业的咏物诗，解读了其以草木、杂物、器玩为对象的“游戏之作”中所蕴含的复杂精神世界。结合明末清初严苛的道德环境与伦理框架，通过文本细读与历史语境分析，发现吴伟业的咏物诗表面是游戏笔墨之作，实则承载了诗人作为明朝遗臣的忧患意识与史家责任，以及深重的自我嘲讽与生存的窘迫感。研究发现，此类咏物诗具有双重意义，既是对传统咏物诗境的继承与开拓，又是诗人用以掩饰内心痛苦、寄托隐士理想并重塑自我价值的重要载体。认为吴伟业的这些“游戏之作”并非闲笔，而是其特殊人生境遇与复杂自我意识在诗歌文本中的凝结，是理解其晚年心态与创作的关键。更多还原

【Abstract】 Focus is placed on Wu Weiye’s object-chanting poetry, and the complex spiritual world embedded in his "works of playful composition" —which take plants, miscellaneous objects, and curios as the thematic images—was interpreted. Combined with the harsh moral environment and ethical framework of the late Ming and early Qing dynasties, through close textual reading and historical contextual analysis, it was found that Wu’s object-chanting poetry, superficially categorized as playful writings, essentially embodies the poet’s sense of anxiety as a loyal minister of the Ming Dynasty, his historical responsibility, profound self-mockery, and the distress of survival. Such object-chanting poetry is revealed to possess dual significance: it is not only an inheritance and development of the traditional object-chanting poetic realm, but also a crucial carrier through which the poet conceals inner pain, embodies hermit ideals, and reshapes self-consciousness. These "works of playful composition" by Wu Weiye are argued to be non-trivial writings; instead, they are the condensation of his special life experiences and complex self-consciousness in poetic texts, and serve as a key to understanding his mentality and creative practices in his later years.更多还原