本文旨借三組「詩詞及其創作情境的關係」間的比較，分析梁鴻志與汪精衛在通敵之際所作詩詞，探尋汪精衛於事敵之際的心聲，同時反思研究者在詮釋汪氏心境時，所可能產生的盲點。詩詞所以能夠成為解讀汪氏心境的材料，蓋援顏崑陽「中國詩用學」作為認識論根柢；所以援梁鴻志以與汪精衛比較，殆以王明珂「移動觀察」作為方法論基礎。本文以「還都」、「被刺」、「與敵交涉」為三種通敵之際的代表性情境。蓋「還都」象徵彼等正式出任偽府領導人，成為「漢奸」；「被刺」遭受「愛國主義者」的暗殺攻擊；「與敵交涉」，謀求收回受侵之土地與權利，是彼等的自我期許與任務。凡此情境，對「漢奸」而言，都是造就其壓力與期許的自我認同所在。本文分析這三組情境下梁、汪的詩詞文本，分析每一組詩詞文本與情境之間的關係，並比較這些關係的差異而提出解釋。本文主張，梁氏詩詞的縱橫家謀略，與吾人理解汪政權甚至抗戰的角度相近；然而，汪氏詩詞中，一往無前、自我犧牲、開誠布公的表現，卻是兩國傾軋相爭之際與之後，鮮見的思慮與境界

Drawing three sets of detailed comparisons of the relationships between poems and their contexts, this article is dedicated to analyzing the literary works by Liang Hong-Zhi and Wang Jing-Wei in their period of collaboration with the enemy. It thereby explores Wang's inner voice when he served for the enemy and meanwhile reflects on potential blind spots in interpreting his real frame of mind. The epistemological base of this article is Yen Kun-Yang's ＂chinesepoetryuselogy＂ and the methodological base for the comparison between Wang and Liang is Wang Ming-Ke's ＂mobile observation.＂ This article selects three major situations from the context of collaboration: (1) the returning of the government to Nanjing, (2) the assassination, and (3) the negotiation with the enemy. The first one signifies Wang becoming a traitor leading the pseudo-regime under the Empire of Japan. The second refers to patriotists' attempt to assassinate him. The third indicates Wang's self-expectation and mission to end the war and reclaim the lost lands and rights. These three exerted pressure on Wang and developed his self-identity and self-expectations. This article analyzes Liang's and Wang's literary works written in the three contexts and explains the work-context relations in each set of them. The fact diplomatic stratagems can be found throughout Liang's works approximates the general understanding of Wang's regime or even his role in the Second Sino-Japanese War. However, the spirit of courageous advance, self-sacrifice, and candidness embodied in Wang's literary works is an incarnation of noble endeavor rarely seen during the war and in its immediate aftermath