本文認為清初蘇州劇作家李玉《萬里圓》乃以「剩水殘山」的視域書寫黃向堅的尋親時事，「時空（明清鼎革）共感之下，人（蘇州人、乃至於天下人）的行為」實為劇作之思考核心，分為四個層次進行論述：首先全劇以「黃氏家族的悲歡離合」為出發點，表面上是「完整－殘缺－完整」的回歸過程，實際上卻是「圓而未圓」的人生理想與家國大義；往外推展到黃孔昭、黃府與政治社會上的關係，全劇設置了「蘇州黃宅、南京小朝廷、雲南黃宅」等地理位置，隱含著蘇州／故鄉／故國、南京／亡鄉／失土、雲南／荒土／淨土的空間隱喻與政治意涵；往上擴充到黃向堅尋親時與天地自然之間的關係，以山水為代表，劇中所描述的險山惡水與破碎山河，盡是連年征戰與朝代鼎革之意象；並以黃家人物為基準，對照出明清鼎革之後社會上脫序失控、扭曲變異之人物百態。這樣的書寫視域，使得《萬里圓》沒有尋親故事中常見的神蹟、神話，充滿了戰火摧殘、百姓流離之現實色彩，此亦《萬里圓》異於其他黃向堅尋親故事文本之意義與價值。

This study discusses Wanliyuan, a play by an early Qing Dynasty playwright Li Yu. It was written in the perspective of ＂Shengshui Canshan＂ to express Huang Xiangjian's parents seeking, in which the act of characters (Suzhou folks, or even all the people) under the space-time (Ming's fall and Qing's rule) is the core of the play. It is divided into four levels for discussion: at first, the play begins with the ＂joys and sorrows of the Huang's family＂; on the appearance, it is the process of ＂complete - incomplete - complete＂, but in fact it is the ideal life of ＂round but not round＂. Next, it extends to the relationship between Huang Kongzhao (Huang's family) and the political society. The play sets its geographical locations in ＂Suzhou Huang's House, Nanjing Royal Court, Yunnan Huang's House, etc.,＂, which indicate the spatial metaphors and political implications of Suzhou / hometown / homeland, Nanjing / perished state / lost land, Yunnan / deserted land / pure land. Thirdly, it expands to discuss the relationship between Huang's parents-seeking and the landscape. The landscape is described as broken mountains and rivers which reflect the successive years of war and the image of dynasty perishing. Finally, the condition of Huang's family should be contrasted to the out-of-order society and the distortion of people's characters and attitudes in that era. This perspective of writing makes Wanliyuan full of realistic descriptions of war damages and homeless people rather than miracles and myths appearing in many other writings, which marks the significance and value of the play.