乾嘉之際才女汪端（1793-1839）所著《自然好學齋詩鈔》、《明三十家詩選》，以評騭詩、史且才、識兼備之選家見稱，而其另以稗官體撰成卻焚燬的《元明逸史》，歷來研究多圍繞在陳文述（1771-1843）〈孝慧汪宜人傳〉的紀錄，進行文體的考掘與揣測。本文試圖將焚燬也視為一種文學活動，其動機與汪端演述歷史背後的焦慮有關，當中既包含汪端的書寫信仰（猶冀厄於遭際而不厄於文字也）與生命經驗（子夭夫死、家道中落）相互融通與抗辯的歷程，也涉及女性的文體自覺與詩性寫作，以及焚稿的歷史脈絡與宗教意涵。本文認為，《元明逸史》的存與廢，既突顯焦慮的複雜內涵，也揭示女性寫作的突破與權變。

During the period of the Qianlong and Jiaqing emperors (1735-1820), the talented woman Wang Duan 汪端 (1793-1839) wrote Ziran haoxue zhai shichao 自然好學齋詩鈔 (Poetry from Ziran Haoxue Studio) and Ming sanshi jia shixuan 明三十家詩選 (The Collection of Poems by Thirty Poets of the Ming Dynasty) to comment on poetry and history, and was famous as an editor who possessed both talent and knowledge. Previous scholarship on Wang has largely speculated on types of writing by centering their analyses on records found within Chen Wenshu’s 陳文述 (1771-1843) “Xiaohui Wang Yiren zhuan” 孝慧汪宜人傳 concerning Wang’s work on Yuan Ming yishi 元明逸史, which was penned by “bai guan ti” 稗官體 and later burned. In this article, we attempt to treat “burning” as a literary activity and speculate on the motivations and anxieties behind the narrating of history by Wang Duan. Within these, one can note the inclusion of the processes of fusion and resistance between Wang Duan’s writing beliefs and life experiences. Moreover, it incorporates a consciousness of women’s writing and poetic writing as well as the historical contexts and religious meanings of book burning. This article argues that the writing and burning of Yuan Ming yishi specifically highlights the complex connotation of anxiety and reveals both the breakthroughs and adaptability of women’s writing.