清順治七年（1650），吳梅村賦〈琴河感舊四首〉，誌其與卞玉京之舊情，隨後錢牧齋作〈讀梅村宮詹豔詩有感書後四首〉，詩前序文刻意曲解吳詩立意，詩作內容則依託於吳、卞二人舊情，寄寓明亡之後心事；牧齋此舉高揭其當日作詩之法，實具為後世讀錢詩者指示津途之意。詩成十年後，錢氏為梅村詩集作序，再度引本組詩中陳語，深寄悲慨，放聲疾呼，蓋深懼世人忘前述之法而遺其心中之志也。 本論文即試圖呈現錢謙益明亡以後詩的此一可能讀法。藉由對〈讀梅村宮詹豔詩有感書後四首〉和〈梅村先生詩集序〉中文字意義、典故脈絡的釐清和聯繫，錢謙益所標舉之讀詩法則將愈趨顯豁。

In 1650, the famous poet Wu Weiye composed four impassioned poems entitled “Qinhe ganjiu sishou,” in which he related a romance he had with the legendary courtesan Bian Yujing. Qian Qianyi, another prominent poet of the day, wrote “Du Meicun Gongyan yanshi yougan shuhou sishou” after reading Wu’s poems. In the preface to his four matching poems, Qian suggested that there was a hidden political dimension beneath its ostensible love story in Wu’s poems. And Qian’s four matching poems are themselves charged with emotions of Ming loyalism. Qian’s reading of Wu must be considered as a purposeful misinterpretation. Ten years later, in a preface that Qian composed for Wu Weiye’s collection of poetry, Qian reiterated his earlier views about concealed political messages. It is clear that in all this Qian Qianyi was advancing a theory of allegorical reading pertinent to the demise of the Ming dynasty. Through close readings of Qian’s matching poems and his preface for Wu, this paper explores the creative and interpretive strategies that characterized Qian’s post-Ming poetic endeavors.