學者們普遍認為吳烺《五聲反切正均》反映的是十八世紀江淮官話音系，並且在此一立論基點上，參照現代南京方音來擬測音值，但是對於韻圖中不符合江淮官話的語音分類，卻未能提出合理且令人信才的解釋。有鑑於此，筆者擬參酌詮釋學的方法論重新解讀《五聲反切正均》，以「證偽」原則指出舊說的侷限，力求客觀貼近吳烺的創作意圖，冀望能藉此達到以下目標:一方面重新理解韻圖本質、釐清韻圖反映的音系;一方面針砭等韻研究方法的疏陋，試著摸索新的研究路徑。 根據筆者的觀察，吳烺《五聲反切正均》具有異質性，就韻圖形制而言，韻圓融合了方以智《切韻聲原》的音學觀點與梅膺祚《韻法直圖》的形式框架;所承載的音韻系統而言，韻圖同特兼容南北官話的音系特點，並摻雜吳語方言的部分特徵，並非單純記錄南京一地的語音。

In ancient classical texts, many scholars presume that Wusheng fanqie zhengjun五聲反切正均, written by Wu Lang吳烺, reflects Jianghuai江淮Mandarin’s phonologic system in the 18th century. Therefore, they advocate referring to the contemporary Nanjing南京topolect to imitate the Yuntu’s韻圖phonetic value. However, they did not have any reasonable explanations as to the irrelevant parts in the Yuntu under the phonetic classification of Jianghuai mandarin. Following the falsifiable theory to detect the limitations of the original work, the author uses hermeneutics to reinterpret Yuntu and strives for being subjective and relevant to Wu Lang’s original thoughts. By doing this, the author expects to reinterpret the original Yuntu itself and the real phonologic system it reflects on the one hand; on the other hand, the author will also criticize the neglect of Dengyun等輯research and seek out a new method of analysis. According to author’s own observations, Wu’s phonology theory derives from Fang Yizhi’s方以智, Qieyun shengyuan切韻聲原; the frame of Wusheng fanqie zhengjun follows the examples of Yunfa zhitu韻法直圖. Reflecting not simply on the Nanjing phonetics of Jianghuai Mandarin, the author deems that the phonologic system of the Yuntu reflects not only northern and southern mandarin, but also the distinct features of the Wu dialect.