長期以來，女性在詩史上一直居於附庸的位置，女性詩作極少被許為「典範」 得到更多被閱讀與流傳的機會。但自明末開始，這種僵化的觀念與閱讀模式已有鬆動，不 惟女性從事詩歌創作者增多，女性詩歌的選集或總集也陸績的編刊，這樣的轉變，近年來在 學術界已引起注意，然未有專文討論另一個更具指標意義的著作，那就是評論女性詩作的詩 話以及由女性自己擔任品評任務的女性詩話，也已經在明末產生，這意味著女性除了有詩選 與詩歌總集的編刊，更正式進入詩歌評論的系統，嘗試主導這個系統，成為詩話評論的對象 ，以及詩話的評述者。而江盈科《閨秀詩評》及方維儀《宮閨詩評》正具有前述的關鍵意義 ， 亦即《閨秀詩評》是詩話撰著中首次以女性詩作為全書評論的對象; 《宮閨詩評 ) 是由 女性自己擔任評述者，評述女性詩人的作品。本文即以這兩部明代詩話為論述中心，探討二 書的採輯策略，一窺女性在詩史中的位置。

　　　　　For most of the history of Chinese poetry, female poets were given a subordinate position, and their works were rarely considered masterpieces and passed on to later generations. However, this rigid thinking began to change in the late Ming Dynasty. More women began to write poems and songs at that time, and collections of their works were published. While this shift has received increasing attention in scholarly circles during recent years, there has yet to be any in-depth research conducted on the Shih hua 詩話 (poetry talk) books of the late Ming, which include commentaries on women's poetry by both male and female writers. These Shih hua books thus show that women were not only writing more poetry, but also playing an active role in the realm of poetry criticism. Two works which best illustrate this trend are Kung- kui shih-ping 宮閨詩評 (Commentaries on Maiden Poetry), by Chiang Ying-ke 江盈科, and Kuei-hsiu shih-ping 閨秀詩評 (Commentaries on Court Ladies' Poetry), by Fang Wei-yi 方維儀 . The former is the first Shih hua work to focus on women's poetry, and the latter is the first commentary on women's poetry by a female critic. In the present paper, the author uses these two Ming Dynasty Shih hua works to explore the position of women in the history of Chinese poetry.