本文從歷史隱喻及古玩懷舊兩個角度解讀吳梅村(1609-1672)《秣陵春》傳奇，旨在探討吳梅村及清初其他劇作家如何實現「借古人杯酒澆今人塊壘」，以歷史題材書寫事變，曲折卻強烈的表達其歷史判斷、建構歷史記憶，此外兼論晚明長物熱在明亡之後的演變與文學表現。導論部分略述清初戲劇借古喻今的共性，由此引出《秣陵春》構思上的巧妙。文中第二節結合清初遺民史家的著述，試分析《秣陵春》中南堂諸意象、李煜詞作的隱喻色彩和歷史內涵。第三節從《秣陵春》對晚明古玩熱細緻入微的描寫入手，考察賞鑑、鍾情古玩這種文人的審美趣尚、品格標榜於鼎革之後，如何轉變為作家筆下懷舊的對象和載體，寄旨遙深。

The article aims to examine the metaphorical use of the past in Wu Mei-cun's play Moling chun, and to investigate the nostalgic turn of the late Ming craze for antiques in the wake of dynastic turnover as represented in it. In line with early Qing playwrights' tendency of setting their works in the past eras that are perceived to parallel their contemporary history and politics, Wu chooses as his topic the lives of several Southern Tang loyalists. Through analyzing Wu Mei-cun's careful selection, appropriation, and rearrangement ofthe Southem Tang imagery and its last ruler Li Yu's lyrics, the artice sets out to discuss how Wu succeeds in invoking the Southem Tang as a key means of conveying his historical memory and reflection. Wu pays particular attention to the Southern Tang cultural artifacts. Itexemplifies that such objects from the fallen dynasty not only evokes a strong sense of nostalgia, but also came to be the center of literary representations of the nostalgia for the fallen dynasty, thus making the conventional denunciation of indulgence in objects as sapping a person's will surprisingly irrelevant in the early Qing literature.