歷史詮釋原本就是意義的建構，堯天舜日的聖王建構，更是漢文化傳統中知識份子永恆的夢土；日治初期彰化宿儒吳德功撰著《瑞桃齋詩話．佳話》，也有一段聖王圖像，將滿族司主康熙、乾隆形塑為禮樂之君，以作者的殖民地處境、文本特殊的書寫型態，其中的價值判斷與寄寓的微言大義，得仔細論究。本文因此就其敘事結構觀，在四種基本敘事型態中，共同的思考模式，就是明確的將詩家生平與帝王行事挽結合併敘述，因此記詩家可以不必是名家，也可以不必錄「作者詩」，就是五「作者詩」也是以紀恩、廟堂酬和為主，明顯脫離了文學主軸。進一步針對「君臣唱和」的書寫內容察，文本未載錄康熙詩作，而著重於他對漢族的知份子拔擢、禮遇的書寫，主要在藉著突顯他對禮義價值的實踐，以象徵對漢文化的認同。到了乾隆、君臣唱和不但是以漢語詩歌為主力媒介，而且君臣都是作手，滿族君王與漢族臣僚相得於漢語詩酬唱，乾隆對漢文化的認同，可以說在康熙對禮義價值的實踐基礎上，向前推進了一步，所以吳德功給他的評價是：三代以下「千載一時」，漢文化道統的繼承者。這種聖王建構的想像，事實上是漢文化集體記憶典範的建構，種族的區別，不在量原則之列，異族入主，只要認同漢文化、護持漢文化，進而以漢文化為道統，在他看來便是我族。透過〈佳話〉的聖王，將臺灣文的集體記本溯源，上接堯舜禹湯道統，而且從大歷史的宏觀角度，正視族融合的歷史事實，跳脫狹隘的民族觀念，從文化同區別我族與他者，正展現出作為史學家特殊的史識。

Historical interpretation is essentially meaning construction, and the sage images of Yao and Shun are above all the all-time dream of intellectuals in Han’s culture. However, its needs further exploration into De-Gong Wu’s “Causeries on Poetry in Juei Tao Chamber,” in which Mon’s emperors are depicted as the kings of virtue rather than barbarian colonists. This paper analyzes the narrative structure of the book and puts emphasis upon the idea that colonial emperors can get along with colonized officials. Here, Mon’s emperors accept Confucianism and identify themselves with Han’s culture. Through the construction of collective memory, Wu thus praises Mon’s emperors as the successors of the best Chinese culture and downplays racial distinction in the colonial Chin dynasty. In Wu’s eyes, “the Other” will turn into part of “we-group” as long as it identifies and promotes Han’s culture. Following such a logic, this paper retraces the origins of Taiwanese culture and articulates them in term of the tradition of “Chinese Emperors of Virtue.” Replacing national identity by cultural identity, the main academic contribution might be giving proper credit to the historical fact of racial integration in the Chinese macro-history.