長久以來，在「書肆偽書」的既定印象之下，學界對《百家註分類東坡詩》（簡稱《百家註》）的評價，一直不出「網羅宏富，足供後人掇拾之資」的文獻功能。事實上，《百家註》是否全然是書肆偽託，不無討論的空間，而作為宋人註東坡詩僅存最重要的成果之一，其時代性，卻是後來即使在詮釋上更深微、更精當的註本或論說所無法取代的。本文即從此一觀點出發，論析清人王文誥對《百家註》所引用之註家──即所謂「百家姓氏」的分類說法，探討「百家姓氏」與王十朋、江西詩人及南北宋間重要學術、政治人物之關係，以重新衡定《百家註》在蘇軾研究史及宋代文化史上之價值，並掘發可能值得更進一步開發、探賾之命題。

Under the stereotypical impression as a forged publication made by booksellers, the Classified Poetry of Dongpo with Hundred Critics’ Annotations (abbr. as Hundred Critics’ Annotations) was hardly respected except as a rich collection of documents for hundreds of years. In fact, not only whether the Hundred Critics’ Annotations is completely a forged book made by booksellers remains discussible; but as one of the most important annotation books for Dongpo’s poetry that survived from Song Dynasty, its historical significance was irreplacable by later works or dissertations, even if they are more precise or profound than it. Based on the reorganization and classification of the so-called “the Hundred Annotators’ Names” made by Wang Wen-gou, a Ching Dynasty scholar, this article attempts to relate the Hundred Annotators to Wang Shi-pong (who was once identified as the editor of the book), to the Jiangxi poets, and to some of the most important academic and political elites in the transition period of Northern and Southern Song. The study, then, helps to reevaluate the significance of the Hundred Critics’ Annotations for the research of Su Shih and cultural history of Song Dynasty, as well as puts forth some valuable propositions for further reseach.