明亡之後，江南與其所代表的物質生活，成為許多文人重新思考明代盛衰變化與自身處境的切入點。而文人對物的書寫，反映出他們在面對明清之際劇烈變化的政治局勢與生活型態時的心境與態度的調整。如果我們同意，清初文人出處的抉擇與認同的形成並非即刻的，而必然是在矛盾與協商中成形的，那麼我們如何能從他們對物的書寫中觀察到這樣一個協商的過程？為了回答這個問題，本文擬以個案研究的方式，將考察的焦點主要集中於名士吳偉業（1609－1671）於一六五三年完成的《秣陵春》傳奇，試圖藉由分析吳偉業對劇中最具有象徵性意義的玉杯以及鑑賞與收藏知識的反覆敘寫，具體勾勒出吳偉業調整自我立場以面對亡國創傷的複雜心跡。同時也說明了，吳偉業豐富了物在《秣陵春》中的角色，使物的流轉和賞鑑不僅是過去才子佳人小說或戲曲中情意傳遞的媒介、推進故事的敘事機制；更同時結合了他的個人際遇，創造出物質在過去才子佳人小說或戲曲中前所未有的新表現形式。

After the fall of the Ming dynasty, the experience of the superfluous material life in the Jiangnan area provided a shared vocabulary for many literati to express the vicissitudes of history, as well as of their own situation. The writings about material objects by the literati essentially reflected their adjustments of attitude and mind set facing the drastic changes in political climate and lifestyle during the Ming-Qing transition. Supposing the early Qing literati's choices on political identity were not immediate, but rather were formed through more contradictions and contemplations, can we describe the process of such negotiations in a dynamic manner? This article aims to provide a way to engage in this question by analyzing the representation of material objects in Wu Weiye's chuanqi work Moling Spring, written in 1653. By analyzing the repeated occurrences of ＂the most symbolic jade cup,＂ ＂model calligraphies,＂ and the knowledge in appreciation and collection, we shall draw out in detail Wu's complicated mentality in adjusting his position in face of the trauma of the subversion of the Ming dynasty. In addition, I also argue that in Moling Spring, the appreciation and the exchange of objects not only served as the carrier of love between men and women in talented scholar and lovely lady romances, and as the mechanism of advancing the narrative, but also loaded Wu Weiye's identity adjustment and trial of loyalty facing the sorrow of the subjugation of the dynasty.