The poetry collections of talented women in the Ming and Qing dynasties were mostly compiled by their male relatives, and the phenomenon of deletion and modification was very common. Taking the famous female poet Wang Duan's Zi Ran Hao Xue Zhai Poems as an example, in the year following her death, which was the nineteenth year of the Daoguang reign (1839), her husband's family and her natal family respectively published two versions: a ten-volume edition by Chen Wenshu and a five-volume edition by the Wang family's Zhen Qi Tang, with significant differences in content. The ten-volume edition fully includes Wang Duan's poetry, while the fivevolume edition has many deletions and modifications. These two versions create different images of Wang Duan, reflecting the views of editors Chen Wenshu and Wang Shisun based on different perspectives. Chen Wenshu placed personal feelings and self-identity on talented women and female texts, while Wang Shisun emphasized family and regional identity in relation to talented women and their works. Wang Shisun subtly downplayed the traces of the Chen family and highlighted the presence of the Wang family when editing the poetry collection, which can be seen as a struggle between these two views on talented women in the field of female poetry collection compilation.