吴伟业以其“江左三大家”的文坛领袖地位及短暂仕清经历下的贰臣身份,历来备受明末清初研究者关注。除对他本人的生平考辨、心态考论与作品的文献考据及“诗”“史”间的互证考索之外,对他诗歌本体的研究也主要在“梅村体”、“七古歌行”、“长篇叙事诗”及“诗史特征”等维度上展开。但在诸多视角中,最常被提及的叙事名篇都离不开《永和宫词》、《萧史青门曲》、《听女道士卞玉京弹琴歌》、《临淮老妓行》、《画兰曲》等一系列有关女性的书写,尤以《圆圆曲》所展现的诗歌艺术与历史批判上的双重高度为人击节赞赏,并在80年 Wu Weiye has always been much concerned by researchers in the late Ming dynasty and early Qing dynasty for its literary leadership status and his brief status as an official in the literary world. In addition to the textual criticism of his own life, the textual criticism and the works of the literary works, and the examination of the mutual evidence between “poetry ” “history ”, the study of his poetry ontology is also mainly in the “ ”, “ Seven ancient songs ”, “ long narrative poem ”and “ poetic history ”and other dimensions. However, among the many perspectives, the most frequently mentioned narratives are inseparable from “Yonghe Gong Ci”, “Xiao Shi Qing Men Men Qu”, “Listening Female Priests Bian Yu-jing”, “Lin Huai Prostitutes” “Paintings of Orchids” and a series of other writings about women, especially the double height of poetic art and historical criticism presented by “Cirrus”