「模擬」為漢魏六朝詩史中一重要的文學現象。在六朝眾多擬作之中，謝靈運〈擬魏太子鄴中集詩八首並序〉實為重要一環，過去學界對此組擬詩的研究討論，大抵側重在「模擬／學習屬文」、「一較短長」、「雙聲言語下的抒情感懷或暗寓」、或「重現」等幾個面向上的闡發，雖說精彩紛呈，但忽視了此組擬詩對鄴下詩歌開創性的批評意涵。本文嘗試揭示謝靈運於擬作與小序所提出的詮釋，及其背後的批評觀點，並由此析論此組擬詩對所謂鄴下風流、文學集團、甚而建安詩風的文學史圖像的影響，進而指出此組擬詩對後世看待建安經典的變革過程中所可能扮演的關鍵角色。於前述探論基礎上，進一步思考抒情美學視野中，此組擬詩中的抒情自我如何界說及其於抒情傳統中可能的理論定位。

“Imitation” is an important phenomenon in Six Dynasties literary history. Xie Lingyun’s 謝靈運 series “Imitations of the Wei Crown Prince’s Gatherings at Ye: Eight Poems and Prefaces” 擬鄴中集八首並 序is an important milestone in this tradition of literary imitation. Although scholars have proposed some explanations in previous studies, they have by and large ignored Xie’s use of creative interpretation and criticism in the poems. Through an analysis of the prefaces and imitative poems, this article attempts to reveal how interpretation and criticism operate in this series. At the same time, it explores the influence of this poem series upon the subsequent understanding and imagination of the Jian’an 建安 style as well as other literary groups throughout history. Further, this paper attempts to clarify the status of the imitative lyric-self in the lyrical tradition.