新時代的閨秀作家：陳小翠其人其事

A Literary Woman of the New Era: The Life and Times of Chen Xiaocui

陳小翠（1902－1967），鴛鴦蝴蝶派作家陳蝶仙之女，12、3歲起便以能詩之名，照片、作品屢見於民初報刊。成年後又以畫聞名，人稱詩畫才女。曾任上海女子文學專修學校詩詞教授、中國女子書畫會常務理事、上海中國畫院畫師。文革初期，以不堪受辱自盡。作品除散見於報刊外，後人集為《翠樓吟草全集》。她的作品包含詩、詞、曲、賦、文、小說、戲曲等，可謂寫作全才。小說或譯或作，概以文言寫成，是一位始終秉持文言書寫的多產女作家。陳小翠生逢女權思潮激盪、白話文運動推行的時代，但從她的生平經歷與藝文生涯可以發現，女權思潮與白話文運動，並不是在反對者與擁護者之間相激互爭而已，也未必全然處於敵對狀態。新、舊交替的過程中，不同的男、女知識人各自有選擇性的接受，乃至形成相互包納、涵容並存的現象。所謂新或舊、保守落伍或前衛先進，實非截然二元對立或涇渭分明。女權倡導與文、白遞嬗的進程，有其不可忽視的複雜面向。

Daughter of Chen Diexian, a famous writer of the Mandarin Ducks and Butterflies school, Chen Xiaocui (1902-1967) was a precocious young poetess who made her debut in literary circles when she was only twelve. Her photos and writings frequently appeared in popular newspapers and journals. Later, she became a highlyacclaimed painter, known for both her poetry and her painting. She taught poetical writings at the Shanghai Junior College of Literature, served as managing director of the Chinese Women's Calligraphy and Painting Association, and was a member of the Chinese Painting Academy. In the early stages of the Cultural Revolution, she committed suicide. Her works, including poetry, lyrics, lyric songs, rhyme-prose, essays, fiction, and drama, were collected in Complete Works of Lyrics From Cuilou(翠樓吟草全集). Her fictional writings and translations of fiction were all written in classical Chinese. She was a versatile writer who insisted on the classical mode of writing. Born into an age of women's ights and the vernacular baihua movement, Chen Xiaocui's writing style and ways of behavior show that the women's rights movement and the vernacular movement were not movements that people accepted or rejected in toto, whether in language use or in gender-positioning. The dichotomies of new and old, progressive and regressive, avant-gardism and conservatism, were never binary. There was an interpenetration between the two poles, and the individual's mutual involvement in different positions was nothing uncommon. The case of Chen Xiaocui shows that language use and gender-positioningin Republican China were subtle and complex, and hence deserve more attention.