吴乔（1611—1695）是清初具有代表性的诗人和诗论家，其所著《围炉诗话》曾在清代产生一定影响。目前学界对吴乔的研究多聚焦在其诗学方面，对其诗歌的研究几尽空白，这与学界普遍认为吴乔诗作多已佚失、存世较少有关。有鉴于此，本论文将以新见吴乔诗集《舒拂集》及其他存世文献为基础，对吴乔诗歌进行全面且系统的研究。

本研究正文分为五个部分。绪论部分对有关本题的研究现状进行梳理与描述，并基于当下研究所存在的问题提出新的研究思路。

第一章，考述吴乔生平、交游、著述等活动。生平和交游活动方面，主要依据新见《舒拂集》对前辈学者的成果进行补充，钩稽出他一生的行迹。著述方面，以介绍新见《舒拂集》和《吴修龄史论》为重点，包括它们的存佚、卷数、内容等方面；对其他现存著述也逐一进行考述。以上均为接下来研究的展开奠定坚实的基础。

第二章，研究吴乔的无题诗创作。吴乔曾有无题诗小集，今已不传，现存《无题诗自序》及无题诗三十首。这三十首无题诗从诗体选择和艺术手法呈现较高的一致性。诗中常有寄托之意，这与其在《西昆发微》中对李商隐无题诗的解读一脉相承。

第三章，以《吴修龄诗草》中《古宫词》一卷为主要研究对象。《古宫词》为咏史之作，共二十四首，《舒拂集》中收有其中十八首，文字稍有异同，这种变化或与顺治年间的政治环境有关。《古宫词》与《吴修龄史论》都以历史事件为描述对象，因体式不同，在题材、表现内容和手法等方面呈现出各自的特点。

第四章，研究《吴修龄诗草》中《托物草》一卷和散入《舒拂集》中其他的托物诗。吴乔自释《托物草》云：“拙草名托物，非咏物也。”其中心意思是托身于物，即诗中寄托着诗人的身世感慨和生命体验。这一点也可看作是吴乔“诗中有人”这一理论在创作中的实践。

Wu Qiao (1611—1695) was a representative poet and poet theorist in the early Qing Dynasty, and his book Wei Lu Shi Hua had great influence in Qing Dynasty. At present, the research of Wu Qiao focuses on his poetics, and the study of his poetry is almost blank, for it’s believed that Wu's poems have been lost and on longer existed. However, this thesis will conduct a comprehensive and systematic study of Wu Qiao's poetry based on the new discovered poem collection Shu Fu Collection and other surviving books.

The thesis is divided into five parts. The introduction sorts out and describes the research status of this topic, and puts forward new research ideas based on the current research problems.

The first chapter examines Wu Qiao's life, friendship, writing and other activities. By the help of Shu Fu Collection, this thesis will supplement the former studies about Wu’s life and social activities. In terms of writing, the thesis focuses on introducing the storage, volume, content, etc of Shu Fu Collection and Wu Xiuling Poetics; the thesis also summarized other existing works one by one.

The second chapter analyses Wu's untitled poems. There was a small collection of his untitled poems, which has been lost and now we only has a “Preface of Untitled Poems” and 30 untitled poems. These 30 untitled poems show a high consistency in the poetry style and artistic techniques. And these poems have high allegory, which matches Wu’s criticism of Li Shangyin in Xi Kun Fa Wei.

The third chapter focuses on the Ancient Palace Ci in Wu Xiuling Shi Cao. The Ancient Palace Ci includes 24 songs and all chants on the history. The Shu Fu Collection collectes 18 of them and has made slightly adjustment on the context, which is influenced by the Shunzhi political environment. Although both of them take the demise of the dynasty as their main theme, they are different in themes, expressions and techniques.

The fourth chapter studies the Tuowu Cao in Wu Xiuling Poetics, and other implication poems in  Shu Fu Collection. Wu self-interpreted the Tuowu Cao: “My Tuowu Cao is named to imply, not to chant things.” That is to say that the poet has implied his life experience, reflection in those poem. This is also a practice of Wu’s “present personality in poem” theory.