明清之際以李玉爲首的蘇州派劇作家，創作了許多戲劇性極高的作品。其中將建文帝的遭遇編寫而成的《千鍾祿》傳奇，不僅造就了家家唱曲的崑劇流行盛況，更帶動了清代劇作家創作一系列以建文帝事蹟爲題材的傳奇作品。從明成祖登基的那一天開始，歷史上便出現了一個至今難解的謎團－明惠帝建文君下落之謎。成祖發動「靖難之役」，使得建文帝於大火中喪生，然而因爲沒找到屍體（一說屍體無法辨認是否爲建文帝本人），於是引發了建文帝出亡的傳言。這個謎團不僅至今未解，甚至還餘波蕩漾。在明清易代的時刻，李玉等劇作家取材建文帝史實，一般均將之解釋爲強調正統、呼喚忠臣等特殊心理需求，然而筆者以爲這未嘗不是藉揣想建文帝的遭遇，作爲明末遺民離散飄零心態的投射。就建文帝而言，飄零人回歸故土正是終極目標，而對李玉等劇作家而言，則是遺民在改朝換代後尋找自身的心靈原鄉。若此論點成立，蘇州派劇作者的這類作品就有了更深層的底蘊，因此本文即 從離散書寫的觀點，重新建構該書寫現象的多元意涵。

At the turn of the Ming (1368-1644) and the Qing (1644-1911) dynasties, playwrights of the Soochow school created many scripts of high drama. Among them, the legend Qianzhong lu, a story based on the life of Emperor Hui (Jianwen) of the Ming dynasty, made Kunju Opera popular and encouraged Qing dynasty playwrights to write more Chuanqi stories on Emperor Hui of the Ming dynasty.Emperor Hui's whereabouts has become a mystery ever since Emperor Chengzu of the Ming dynasty (r. 1403-1424) ascended the throne. Emperor Hui died in conflagration when Emperor Chengzu launched the "Battle of Jingnan." However, Emperor Hui's body was never found (or the body could not be identified). Therefore, it was rumored that Emperor Hui somehow escaped the carnage. This unsolved mystery still resonates to this date.At the turn of Ming to Qing, playwright Li Yu and his colleagues used the story of Emperor Hui to remind people that they should still be loyal to the Ming throne. However, the present author believes that this is a reflection of diaspora among the former Ming officials.For Emperor Hui, the final destination was to return to his homeland. To Li Yu and his fellow playwrights, to find a home for their souls were the wishes of all dissipates.On the basis of this theory, we find more depth into the diaspora narrative by the Soochow school playwrights. The present article attempts to reconstruct its multi-faceted implications from the diaspora narrative perspective.