本文選擇從「典律化」的角度探索明清之際辭賦文學的一種面向，希震呈在書寫與詮釋相互為用的情況下，亂世變局中的文人士子是如何熟悉而穩妥地在這個已成典律的文化原鄉中，讓傳統「代言」自我，為當代自我的提擇找到傳統論述方式的「背書」。從夏完淳〈大哀賦〉如何仿擬庚信〈哀江南賦〉，乃至於整個「哀江南」系列也可以視作《楚辭》傳統巨流在明末掀起的一波浪頭，呈現了在國破家亡的亂世裡，文學書寫的意義如果可能作用於當時在政治或社會上的實踐與反思，其中很重要的一個途徑即是透過傳承典律，表在仿擬體式、典事借喻這些使古典〈作品〉「重生」的不斷書寫與詮釋之中。藉助楚騷體系的話語論述之所以重要，正因為這些作品重塑或體現了這個中國文化固有的情志體系，傳承了這個體系中一套累積前代無數習練經驗後的表意方式（包括文體、語彙、人事典故）。楚辭典律因此可以在明清之際，一方面作為當時文人自我詮釋的熟悉範式，一方面也承上啟下，建構出深遠的文化圖譜。

　　　　　From the stance of "Canonalize", this article will explore the profile of the rhapsodies at the end of Ming and the beginning of Ching dynasty. Within the interactions between writings and interpretations. I will explain, in the culture that has been settled in a fixed canon, how the scholars and intellectuals soundly utilized the tradition to express themselves and gained support and endorsement from the traditional way of expression for their own choices. From Xia Wanchun's Daai Fu imitating Yu-Xin's Aijiangnan Fu to the whole series of Ajijangnan being seen as a part of Chuci, this tradition raised a wave of discussion at the end of Ming dynasty. From this event reflected in the chaos, we may know that if the meaning of literary writing influenced the political or social practices and introspections, one of the very important ways is through succeeding the traditional canons to express themselves in their writing styles of imitation, story and metaphor, that revitalize the classics. Why is the discourse based on the Chuci and Lisau system so meaningful? That's because these pieces rebuild and realize the original system of sentiment and aspirations in Chinese culture. These pieces also succeed the ways of expression that accumulated from numerous practice and experiences of the previous generations, including style, vocabulary and biographical stories. Therefore, cannons of Chuci could be the wonderful model for the literati to express themselves at the time of Ming to Ching, and it also continued the traditions to set up a significant cultural spectrogram.