朱舜水〈遊後樂園賦〉是中國辭賦史上唯一描寫外圓 (日本) 庭團的賦篇，寫於西元1669年，清康熙八年，因抗清失敗流亡日本已經十年。以一個明朝遺民的身分，朱舜水不願為清臣虜，東渡至長崎，在日本鎖國時期成為破例允許留居的華人。 留居長崎初期，舜水閉門掃跡，對於亡國遺民的身分充滿憂憤與絕望。直到乙巳 (1665) 年應水戶侯源光國誠摯之請，至江戶講學，舜水流亡生涯於是出現了大轉抉點。一方面是對中國改朝換代已成的定局，正式告別；一方面則彷彿是由糾纏著憂憤、蒼涼的自我陷溺中醒豁了一個出口，開始通往江戶的另一段旅途。 到江戶第五年，舜水以一種歡欣自得的語調寫下〈遊後樂園賦〉，挪借〈上林賦〉的盛世氣象，表徵自己所輔佐的光國卿與所指導的水戶學派在日本文化及政治上已經造成的影響與貢獻。這個透過大賦體式所展布的格局，明顯有別於一般對於遺民書寫總是「黍離之悲」、「新亭對泣」等「危苦之詞」的單一印象；除了流離逃遁、懷歸望鄉，〈遊後樂園賦〉為本來已經無路可出的流亡生涯，朗現一片柳暗花明的「志」得「道」行──那是朱舜水歷經生死、仕不仕的抉擇關隘後，終於看見的華美風景。

“Roaming in the Koorakuen Garden Fu遊後樂園賦” was completed in Chu Shun-shui’ s朱舜水fifth year at Edo and displays a pleasing, comfortable tone. In this fu, Chu appropriated vibrant and glorious scenes from the “Imperial Fu上林賦” in order to express the political influences and cultural contributions of the Mito School水戶學派that Chu led in Japan. The framework of the Great Fu style is clearly distinct from most other writings of exiles, such as “Sorrow of the Song Shu-li 黍離之悲” or “Facing Each Other and Weeping at Hsin-ting新亭對泣,” which cannot shake off images of poverty and difficulty. In contrast to such images of destitution, homelessness and homesickness, “Roaming in the Koorakuen Garden Fu” opened a window for the future of an exile and the splendor that followed when he experienced and overcame the enigma of personal death and political piety.