歷來對於邊塞詩之討論，多集中於唐朝這個斷代，但是凡涉及邊關戰爭與外族衝突的詩歌作品，都應該可以納入邊塞詩之譜系。以這樣的基礎出發，用以檢視明代抗倭戰爭中產生的一系列「海洋邊塞詩」作品，會發現這些作品與歷代邊塞詩同中有異的映照關係，包括視野由長城轉移至海域，具備邊塞詩前所未有的海洋元素，且其反映的是一場艱鉅的被動戰爭－面對汪洋大海却難以直搗黃龍的徒呼負負，還有詩中俯拾皆是的海洋意象與東洋情調，在在可以看到明朝抗倭戰爭的時代影子。同時，這些作品也不乏忠勇報國的激情與閨怨呢喃的悲涼，事實上，不絕於耳的濤聲就是唐代以降邊塞詩的餘響。可以說這批「海洋邊塞詩」不僅豐富了邊塞詩討論的材料，同時也顯示了中國在進入國際時代中的藩籬情感；當中國將海域視為邊疆，而成功阻斷倭寇入侵，獲得區域秩序維護的勝利之餘，實際上也逐漸沒落於國際化之浪潮，甚至淪於「世界的邊疆」。

Discusses frontier fortress poem, usually concentrates in Tang Dynasty. But if the poem which involves border area war and alien race conflict, all should be possible to regard as frontier fortress poem. According to above, survey the "oceanic frontier fortress poem", which produces in anti-wokou war of Ming Dynasty, can discover these works and the former frontier fortress poem had same, also had the difference. Including the field of vision shifts by the Great Wall to the sea, the unprecedented sea element reflects an arduous passive war. In addition, the sea image and the Japanese affective tone, all may see the shadow of anti-wokou war. At the same time, these works also fill patriotic fervor and boudoir lament. These "oceanic frontier fortress poems" not only enrich the discussion scope of frontier fortress poem, but also demonstrate China's resistance to internationalization. When China regards as the seacoast the border area, and resists the wokou' invasion successfully, beside the victory, also swallows by internationalization tide. China finally turns "the world border area".