哀策一體始於魏晉而大盛於南朝，與諫文的關係十分密切，不但文體職能與適用場合相近，亦同樣具備述德與敘哀的二重書寫特色。然而當今學界對於哀策的重視程度明顯不足，留有諸多補白之空間。今本李善注《文選》中「哀」體一目，據五臣注陳八郎本與《郡齋讀書志》皆作「哀策」。哀策之施用對象僅限於皇帝、皇后、太子、太子妃四者，具有嚴格的身分限制，而作家往往以皇帝口吻代筆，其「因文造情」之書寫特色，也與傅統言志抒情的文學理路相互扞格。《文選》「哀」目選錄潘岳〈哀永逝文〉、顏延之〈宋文元皇后哀策文〉與謝肌〈齊敬皇后哀策文〉三篇文章，蕭統何以選擇此三篇文章構成「哀」類？二篇哀策各所具備的典範意義為何？皆為本文欲以探討之處。

Laments 哀策 first appeared at the beginning of the Six Dynasties and flourished during the Southern Dynasties. Laments are closely similar to dirges 誄文 in terms of form, the occasions on which they were used, and the fact that they recount the merits and lament the passing of the deceased. In recent years this literary form has been under-researched, leaving many unanswered questions. The ai 哀 category in the current edition of the Wen xuan 文選 annotated by Li Shan 李善 appears as aice 哀策 in both the Chen Balang 陳八郎 edition annotated by the Five Officials 五臣 and in the Junzhai dushu zhi (郡齋讀書志 Junzhai Studio Reading List). Laments are strictly confined to Emperors, Queens, Crown Princes, and Crown Princesses, and tend to be written in the Emperor’s voice. Their exaggerated style contrasts with the narrative and expressive logic of traditional literature. Three laments were selected for the Wen xuan: Pan Yue’s 潘岳 “Eternal Mourning” 哀永逝文，Yan Yanzhi’s 顏延之 “Lament for Queen Wenyuan of the Song” 宋文元皇后哀策文，and Xie Tiao’s謝跳“Lament for Queen Qijing”齊敬 皇后哀策.This article explores why Xiao Tong 蕭統 chose these three examples of laments and the significance of each to the form.