黃遵憲的《人境廬詩草》中，有八篇直接採用關於1894年至1895年甲午戰爭的素材創作的詩歌。這八篇的詩題分別是〈悲平壤〉、〈東溝行〉、〈哀旅順〉、〈哭威海〉、〈降將軍歌〉、〈度遼將軍歌〉、〈馬關紀事〉、〈臺灣行〉。錢仲聯在《人境廬詩草箋注》中引楊徽五《榕園續錄》云：「〈悲平壤〉、〈臺灣行〉諸作，則先有其題，家居時乃補作，即康（康有為）序所謂放廢後益肆力於詩者。」並對這八篇詩歌注釋都說明：「原稿本無此詩，蓋戊戌回鄉以後所補作。」為什麼黃遵憲對這八篇詩歌如此別有用心，是否對執政當局有所諷諭呢？如果有所諷諭，那又是如何諷諭呢？其諷諭目的為何？本文即從諷諭性詩用傳統、黃遵憲甲午戰爭詩之諷諭方式及諷諭目的三節進行論述。

His masterpiece, Poems of the Human Environment, of which eight productive works are excerpted directly from the poetry centered on the First Sino-Japanese War of the mid 1890s. They are entitled respectively as Mourning for Pyeongyang, Troop of Eastern Ditch, Condoling for Lushun, Moaning for Weihai, Epic of Surrendered General, Epic of Defeated Liao General, Chronicle of Shimonoseki as well as Tour of Taiwan. Quoted by Yang's Rungyuan Sequel, in Chian's work of Annotated Poems of the Human Environment he acclaims literary pieces like Tour of Taiwan are composed ahead with titles followed by textual insertions, which explains why Kang pinpoints plentiful poetry thrived along with the territorial cession. Moreover, Chian even proposes, ＂The original text by Huang lacks those poems, which are allegedly added later than his infamous resignation in 1898.＂ Why does Huang intend to adopt these poems and whether they impose ironies against the ruling party? If ironical criticism indeed exists, in which way do they present and what is the purpose for? This essay is to discourse through three domains of ironical poetryuse perspective, Huang's ironical criticism of the First Sino-Japanese War poetry, and the purpose of ironical criticism.