以校注李白和劉禹錫詩集馳名的瞿蛻園（原名瞿宣穎，1894-1973），是二十世紀上半葉成就極高，卻備受學界冷落的詩家。其詩集《補書堂詩錄》具備多重版本，然散藏於中、港、臺各地。世所公認其作深具「詩史」價值，迄今卻尚無學者針對其詩藝，進行全面性的整理與深入論述。本文首先廓清《補書堂詩錄》複雜的版本問題，並通過「詩史」的理論觀照，思考瞿宣穎作品與其多重版本在詩歌及歷史兩方面的價值與意義。通過仔細考校詮讀《補書堂詩錄》在1940年代、1950年代、1960年代各版本間的詩文差異，本文發現多處文字改動後，歷史觀點亦隨之改易的證據。從「新我」與「故吾」並存的文獻裡，本文推導出以下結論：《補書堂詩錄》的多重版本，並非僅是文獻校勘的問題。此書各版本反映著詩人反覆重寫、修訂文字的歷程與結果，這一現象即為「詩史」理論的本質，通過文學再現的歷史。詩人挪動典故，替換隱喻、反覆修改詩稿間，皆是其「自我」與「世界」不斷碰撞後的展演，亦是詩歌對記憶、對歷史的反覆銘刻與自我定義。

Known for collating and annotating the poetry anthologies of Bai Li and Yuxi Liu, Tui-yuan Qu (originally named Xuan-ying Qu, 1874-1973) was a poet of high achievement in the first half of the 20th century, yet received surprisingly little scholarly attention nowadays. Widely recognized as having the value of “poetizing history,” his poetry anthology Bushutang shilu was published in multiple versions and respectively collected in China, Hong Kong, and Taiwan. However, a comprehensive and in-depth analysis of Qu’s mastery of poetry has been wanting to date. Therefore, this study first of all disentangles the complex issue concerning the different versions of Bushutang shilu, and, by reference to the theory of “poetized history,” it cogitates on the value and significance of the anthology, along with its multiple versions, in terms of poetry and history. After the meticulous, systematic comparison of the differences among the versions published respectively in the 1940s, 1950s and 1960s, this study reveals several pieces of evidence on how the poet’s perspective of history changed with the revision in phraseology. From the literature in which the “present-self” and the “previous-self” coexist with each other, this study infers that the multiple versions of Bushutang shilu were not simply a matter of literature collation. Rather, they implied the processes and results of Qu’s continued rewriting and revision, which embodied the essence of the theory of “poetized history.” In sum, the constant clashes between Qu’s “self” and the “world,” as well as his repeated inscription and self-definition of memory and history through poetry, have found vivid expression in his appropriation of classical stories, replacement of metaphors, and emendation to the manuscript.