自漢魏以降，樂府舊題以及諸多題材都形成同題擬作的一個典範，譬如〈行路難〉、〈陌上桑〉、〈詠擬懷〉等題。「擣衣」詩是漢魏六朝文人擬作的其中一個母題，擁有大量的文人競作；逮及隋唐，因戰事頻仍，征夫與思婦間的文化意涵又形成另一波競作高潮。在李白諸作中，有兩首「擣衣」詩作，一為七言古詩，題作〈擣衣篇〉；一為五言古樂府，題為組曲之一〈子夜吳歌‧秋歌〉。過去學者大多從「為何模擬」的思考角度在「同題擬作」詩上尋求問題意識的解惑？本文以西方文學批評為研究方法（單位），試圖從「寫作」、「表述」、「結構」三個文學批評術語的脈絡切入：其一、「寫作」在探討詩人作詩的意境呈現與詩人的寫作意圖為何？其二、「表述」在說明詩人作詩時，在文化與政治間的意識如何流動？其三、「結構」在檢視擣衣詩的空間布局與系統區分。凡此，剖析詩人擬作「擣衣」詩之擣衣相關物象，以及擣衣女內心閨怨的想像，提出個人觀點分析。

Since the Han and Wei Dynasties , the old theme of Yuefu（樂府）and many subject matter have formed a model of the same topic , such as "Xing Lu Nan"〈行路難〉,"Mo Shang Sang"〈陌上桑〉, and "Yong Ni Huai"〈詠擬懷〉. The "Daoyi Poems" is one of the motifs of the literati of the Han , Wei and Six Dynasties . It has a large number of literati competitions . In the Sui and Tang Dynasties , because of the frequent wars , the cultural implications between the husband who has gone to war and the wife , another wave of competition is formed . In Li Bai’s works , there are two "Daoyi Poems", one is a long seven-word poem , titled "Daoyi Pian"〈擣衣篇〉; the other is a short fiv-word poem , titled "Zi Ye Wu Ge‧Qiu Ge"〈子夜吳歌‧秋歌〉. In the past, most scholars sought the motifs of problem consciousness in the poem" Why is the simulation" ? This essay tries to cut through the context of three literary criticism terms : writing , representation and structure . First , writing is to explore the artistic conception of the poet’s poetry and the poet’s writing intention . Second , representation explains how the consciousness of culture and politics flows when poets write poetry . Third , structure inspects the spatial layout and systematic differentiation of the "Daoyi Poems". In all of these , this article uses literary criticism as a research method to analyze the poet’s imitation of the objects related to the pounding clothes , as well as the imagination of the woman’s inner grievances , and put forward personal opinions .