原文
二妃者，一曰益阳王妃。丁亥某月，王遇害广州，妃某氏，色美，兵欲妻之。妃曰：“王故夫也，亟具棺衾，得尽一哀，以事新者，当无复恨。”兵出市棺衾，妃阴置小刀数十衤目衣中，整刃外向，丧服哭泣视殓含，与兵出葬北山。既毕，兵遽前犯妃，妃大骂。兵怒，抱持益急。身数十处触刃，血洒洒仆地，妃乃反刃自杀。予为歌云：“为我殓王，送之北邙。逝将从汝，不惜新丧。王魄已归土，同穴终何补。利刃怀满身。欲切奴为脯。奴血何淋漓，痛楚莫予侮。自刭以报王，黄泉相鼓舞。”一曰滋阳王妃，庚寅春，滋阳、铜陵、兴化、永丰、信阳、永宁凡五王，同客惠州。其六月，广州围急，奉化伯黄应杰者，与副使李士琏袭执五王，以惠州先降，既而悉缢杀之。王子在襁褓者，及宗室女已嫁者，皆捕杀无遗。滋阳既薨，其妃某氏，色美，应杰苦欲犯之。裸其上衣，系于柱。妃乘间细析下衣为缕，经死。予为之歌云：“夫为王，妃是我。皎如霜，身可裸。何必衣与裳，礼义为包裹。天留一缕丝，以为绝命资。徒劳强暴守，蝉蜕不曾知。”
白话
中文
这里记述的是两位王妃的事迹。
第一位是益阳王妃。明末丁亥年（1647年）某月，益阳王在广州遇害。王妃某氏容貌美丽，（杀害益阳王的）士兵想要强占她为妻。王妃说：“王是我的亡夫，请赶快准备棺材和殓衣，让我能为他尽情哀悼。之后再侍奉新夫，也就不会再有遗憾了。”士兵便出去购买棺材和殓衣。王妃偷偷地将数十把小刀藏在贴身衣服里，将刀刃朝外整理好。然后她穿着丧服，哭泣着为益阳王整理遗容、入殓，并和士兵一起到北山安葬。安葬完毕后，士兵立刻上前想要侵犯王妃。王妃大声辱骂。士兵大怒，更加使劲地抱住她。（士兵）身上被（王妃衣服里藏着的）刀刃刺中数十处，鲜血淋漓地倒在地上。王妃于是反转刀刃自杀了。我（屈大均）为此作歌唱道：“替我收殓我的王，送他到北邙山上安葬。我将追随你而去，不吝惜这刚刚逝去的生命。王的魂魄已归于尘土，即使同穴而葬最终又有什么补益呢？怀揣满身的利刃，是想将那贼奴剁成肉酱。贼奴的血为何如此淋漓？是因为他施加的痛楚和对我的侮辱。我自刎来报答我的王，到黄泉之下我们也能相互慰藉、欢欣鼓舞。”
第二位是滋阳王妃。庚寅年（1650年）春天，滋阳王、铜陵王、兴化王、永丰王、信阳王、永宁王（原文“凡五王”，但列出六位，或有衍文或指其中一位为主）共六位藩王一同客居在惠州。同年六月，广州战事危急，奉化伯黄应杰和副使李士琏因为惠州先投降了（清朝），便偷袭抓捕了这几位藩王，随后将他们全部缢杀。藩王中尚在襁褓中的儿子，以及宗室中已经出嫁的女儿，也全都被抓来杀害，无一幸免。滋阳王死后，他的王妃某氏也因容貌美丽，黄应杰执意要强行玷污她。黄应杰剥去她的上衣，将她绑在柱子上。王妃趁看守不备，将自己的下裙撕成细条，结成绳索上吊自杀了。我（屈大均）为她作歌唱道：“我的夫君是王，王妃则是我。我的贞洁如霜雪般皎洁，身体即使被裸露又何妨？何必需要衣裳来装点，真正的尊严是礼义的包裹。上天（或者说衣裳）留下了一缕布条，作为我了断性命的凭借。那强暴之徒白费力气看守，（我的灵魂）已像蝉蜕壳般离去，他却懵然不知。”
英文
This recounts the deeds of two royal consorts.
The first was the consort of the Prince of Yiyang. In a certain month of the Dinghai year (1647 AD) during the late Ming Dynasty, the Prince of Yiyang was killed in Guangzhou. His consort, Lady Mou, was beautiful, and the soldier (who killed the Prince) wanted to forcibly take her as his wife. The consort said, "The Prince was my late husband. Please quickly prepare a coffin and shroud so I can fully mourn him. After that, I will serve a new master without regrets." The soldier went out to buy the coffin and shroud. The consort secretly placed dozens of small knives inside her undergarments, arranging the blades to face outward. Then, dressed in mourning clothes, she wept as she prepared the Prince's body for burial, attended the encoffining, and went with the soldier to bury him in the northern hills. After the burial, the soldier immediately moved to assault the consort. She cursed him loudly. The soldier became enraged and held her tighter. His body was stabbed in dozens of places by the blades (hidden in her clothes), and he fell to the ground bleeding profusely. The consort then turned a blade on herself and committed suicide. I (Qu Dajun) wrote a song for her, saying: "Enshroud my King for me, send him to the northern burial mounds (Beiman). I shall follow you, not regretting this newly lost life. The King's soul has returned to the earth, what good would sharing a tomb ultimately do? Sharp blades fill my bosom, intending to mince that slave into paste. Why does the slave's blood flow so freely? Because of the pain he inflicted and his insult to me. I cut my own throat to repay my King; in the underworld, we shall encourage each other with joy."
The second was the consort of the Prince of Ziyang. In the spring of the Gengyin year (1650 AD), the Prince of Ziyang, Prince of Tongling, Prince of Xinghua, Prince of Yongfeng, Prince of Xinyang, and Prince of Yongning (the text says "five princes in total" but lists six, perhaps an error or one was primary) were all residing as guests in Huizhou. In the sixth month of that year, the siege of Guangzhou became critical. As Huizhou had already surrendered (to the Qing), the Count of Fenghua, Huang Yingjie, along with Vice Commissioner Li Shiluan, launched a surprise attack and captured these princes, subsequently strangling them all. Even the princes' infant sons and married daughters of the imperial clan were hunted down and killed without exception. After the Prince of Ziyang died, his consort, Lady Mou, also known for her beauty, was persistently targeted for violation by Huang Yingjie. He stripped off her upper garment and tied her to a pillar. Taking advantage of a moment when unguarded, the consort tore her lower skirt into thin strips, fashioned a rope, and hanged herself. I (Qu Dajun) wrote a song for her, saying: "My husband was a King, and I am his consort. My purity is like frost, my body can be bared. Why the need for clothes and skirts? Righteousness and propriety are the true coverings. Heaven (or the cloth) left a single strip of fabric, to serve as the means for ending my life. The violent guard watches in vain, unaware that (my spirit) has already shed its form like a cicada."
文化解读/分析
“二妃”条目记述了明末清初两位南明藩王妃（益阳王妃和滋阳王妃）在国破家亡之际，面对强权和凌辱，以死殉节、维护自身尊严和对故国、亡夫忠诚的悲壮事迹。这两则故事集中体现了中国传统文化中对女性“贞节”观念的极度重视，尤其是在社会剧烈动荡、伦理纲常受到挑战的特殊时期。
- 贞节观念的极端体现：在传统儒家伦理中，“饿死事小，失节事大”。两位王妃面对不可避免的侮辱，都选择了以极端方式——自杀——来维护贞洁。益阳王妃采取了更主动、更激烈的反抗方式，不仅保全自身，还惩罚了施暴者；滋阳王妃则在被动受辱的情况下，利用有限的条件（自己的衣物）实现了自尽的决心。她们的行为在当时被视为符合最高道德标准的“烈女”典范。
- 乱世中的女性悲剧与反抗：故事背景是明清易代之际的残酷战争和政治清洗。藩王被杀，宗室遭屠戮，女性成员往往成为战利品或受害者。两位王妃的遭遇是无数乱世女性悲惨命运的缩影。然而，她们并没有逆来顺受，而是以生命为代价进行了最后的反抗，展现了女性在绝境中的刚烈与人格尊严。
- 屈大均的立场与情感：作为明遗民，屈大均对清朝统治者及其协从者（如黄应杰、李士琏）的暴行怀有深切的愤恨，对南明宗室及其眷属则充满同情。他特意记述并为两位王妃作歌，旨在表彰她们的忠烈，谴责施暴者的残忍和不义，寄托自己的亡国之痛和对故明的哀思。诗歌语言激昂，情感充沛，如“欲切奴为脯”、“黄泉相鼓舞”、“蝉蜕不曾知”，既是对烈女精神的赞颂，也是对敌人的诅咒和蔑视。
- 文化符号与道德教化：这类“烈女”故事在古代社会被广泛传颂，具有强烈的道德教化意义。它们被用来塑造理想的女性形象，强调忠诚、贞洁等伦理价值。通过将女性的身体、衣物（小刀藏于衣中、裂裳为缕）与她们的道德决心联系起来，这些故事赋予了日常物品和身体本身以深刻的象征意义，即它们都可以成为捍卫礼教和尊严的工具。
总而言之，“二妃”条目不仅是历史事件的记录，更是特定文化价值观下的产物和载体，反映了明末清初的社会现实、伦理观念以及遗民士大夫的精神世界。
关键词
二妃, 益阳王妃, 滋阳王妃, 丁亥, 庚寅, 广州, 惠州, 明末清初, 南明, 藩王, 贞节, 殉节, 烈女, 黄应杰, 李士琏, 屈大均, 广东新语, 女语, 女性反抗, 忠诚