太平洋戰爭爆發後，從汪文人龍榆生、李宣倜等人於1942年初，假題詠「易水送別」為名，向汪精衛的對日政策婉曲進諫，他們各負常州詞派、同光體等學問基底，與當時的歷史氛圍相激盪，對荊軻故事展現獨特的觀照。本文取汪精衛政權文人『易水送別圖』題詠」為研究核心，探討汪等人如何透過此組文本，詮釋荊軻故事、汪精衛庚戌行刺事（1910)與此際「和平運動」三者間的錯綜關係。冀能一窺汪精衛及從汪文人詩詞中的典故挪用、政治謀略與情意寄託，勾勒汪等的意圖與心事。當偽政權中人以詩言志，心畫心聲是否仍然失真？當一戰以來詭譎多變的國際形勢，與夷夏不兩立的民族主義論述詰抗牴牾時，汪等的「和平運動」如何藉由常派「寄託說」自解自辯？偽政權核心中人的傅統文學成就與情感脈絡多受文學研究者的諱言與忽略，筆者望能藉由揭舉該特殊氛圍下的文學表現與風格，從而使學界重新評估汪政權文人詩詞作品價值。

This essay examines the inscriptions added to the painting “Farewell at Yishui” in 1942 by literati serving in Wang Ching-wei’s 汪精衛 regime, just as the Pacific War erupted. It explores how Wang Ching-wei and his followers interpret the intricate relationship between the story of Jing Ke 荊軻，Wang’s 1910 plot to assassinate the prince regent Zaifeng 載灃，and the peace movement through this group of texts. By examining the appropriation of literary allusions, references to political strategy, and sentiment employed in their poetry, this paper outlines the intentions and anxieties of Wang and his literati friends. When literati imply their ambitions through poetry in a puppet regime, are they still able to fully express themselves or will the metaphors they use be distorted? After WWI, as the volatile international situation and nationalist discourse came into conflict, could Wang’s Peace Movement be explained or defended by scholars via the “Theory of Chi-Tuo” of the Lyric School of Changzhou 常州詞 派寄託說？ Researchers have avoided or neglected the traditional literary achievements and emotional context of scholars serving in Wang’s puppet regime. By shedding light on literary performance and style in that specific atmosphere, I hope that scholars will reassess the value of the poetry written by the literati of the time.