1916年，避居香港九龍的遜清遺民陳伯陶（1855－1930），注意到了宋末二帝在香港九龍地區留下的史蹟，並對宋王臺及周邊遺跡的來歷加以考據和發揚，招引文人登臺雅集，詠懷抒志，成為民初香港值得注意的遺民論述。詩人題詠宋王臺的詩篇，引起酬唱無數，進而由蘇澤東（1858－1927）輯錄為《宋臺秋唱》（1917），可視為香港地區最早的漢詩雅集刊物。從遺民文學的角度切入，亡宋遺跡和九龍避地之間形構的地方感，替我們揭示了漢詩與香港地景之間發生的意義脈絡。文人筆下的歷史敘事和抒情詩學，在英殖民地和殖民體制下，有效開展出香港文學獨特的遺民空間。詩人置身九龍，藉由漢詩表徵的「地方」（place）與九龍宋史「地景」（landscape）的建構，二者之間的辯證和糾葛，在二十世紀初期的東亞漢詩系統內，建立了香港離散詩學的參照脈絡和意義。

In 1916, Chen Botao (1855-1930), an adherent of the Qing Dynasty who has taken refuge in Kowloon, Hong Kong, is drawn to the Terrace of the Song Kings (Sung Wong Toi), a historic site left by two Song Dynasty emperors. He then starts to study its history and its surrounding historic sites, as well as invites other intellectuals to ascend onto the terrace, gather together, and produce literary works about it. Notably, these writings can represent the Qing Dynasty adherents in Hong Kong during the early years of the Republic of China. Su Zedong (1858-1927) later compile the poems among them into the Autumn Chants on the Terrace of the Song Kings [Song tai qiu chang](1917), which can be considered as the earliest published collection of Chinese poems written in literary gatherings in Hong Kong at that time. The historic sites of the Song Dynasty and Kowloon as a shelter form a special space in which scholars are able to explore the interrelated meaning between Chinese poetry and Hong Kong landscapes. Under the colonial system, the historical narratives and poetics lead into a unique arena of adherent literature in Hong Kong. The interaction between the ”place” presented in Chinese poetry and the construction of the ”landscape” in Kowloon's Song Dynasty history establishes a context for diaspora poetics in Hong Kong of the early twentieth century.