吴梅村是我国明末清初著名的文学家,戏曲家,一生著作等身,为我国戏曲文学宝库留下了丰厚而宝贵的艺术财富。吴梅村自幼爱史,而其一生仕途也以史官职位居多,“史官”职履为吴梅村的艺术创作之路提供了深厚的“史”文化滋养。同时身处时局板荡、王朝更迭之秋,吴梅村初拜大明朝堂,后又无奈仕清,身侍二朝的经历不仅使吴梅村内心纠结百转,也影响着吴梅村作为“官”的心态,而这些情愫心绪都不可避免地深深烙印在了他的艺术创作上。本文即通过对吴梅村的三部戏曲作品《秣陵春》《通天台》《临春阁》的分析解构,从“史官心态”这一别致角度探究吴梅村这位文化巨匠在戏曲作品中所透射出的封建人文思想内蕴。 Wu Meicun is a famous writer, opera composer and author of his works in late Ming and early Qing dynasties, leaving rich and valuable artistic treasures for the treasure house of Chinese opera literature. Wu Meicun since childhood love history, and his lifetime career also official positions, “Shi Guan ” performance for the Wu Meicun art creation road provides a profound “history ” cultural nourishment. In the meantime, Wu Meicun first worshiped the Ming dynasty hall and then resigned Shi-qing. The experience of serving the two dynasties not only entrenched the inner circle of Wu Meicun but also affected Wu Meicun as a “ Official ”mentality, and these emotions are inevitably deeply imprinted in his artistic creation. This article attempts to analyze and deconstruct the three compositions of “Wu Ling”, “Tong Ling Tai” and “Lin Chun Ge” in the three operas of Wu Meicun. From the unique angle of “official attitude”, Wu Meicun, the master of culture, Inspired by feudal humanistic thoughts.