「傳統式都市通俗小說」又名「新鴛鴦蝴蝶派」小說，流行於民國初年上海為首的都市。全文以瞿秋白〈大眾文藝的問題〉為開場，內容與瞿說迥然不同；正文由三部分組成，依序討論蝴蝶派之興起、蝴蝶派處理西化（現代化）情節，以及蝴蝶派與五四派作家的聲勢消長。作者在第一部份就肯定蝴蝶派小說的價值，認為其符合都市居民心裡需求，舉凡新式教育與識字率的提高、生活型態從農業轉型到工商業、逃避生活壓力與休閒閱讀習慣的產生、報章雜誌等各種傳媒對通俗文化流行的影響等等都市現象，一一呈現。在討論「西化」的第二部份，作者提出鴛鴦蝴蝶派延續傳統通俗以「抗議」心態，來博取大眾同情，但以現代派自居的五四作家，則改變傳統，所以後者一直難以吸引多數都市讀者。第三部分提到「蝴蝶派」與「五四派」作家與讀者交流的情形，在抗日期間特別明顯，到鄉村號召抗日的五四派，把蝴蝶派的小說情節，當作鬥爭的證據。鴛鴦蝴蝶派最後的代表作《啼笑姻緣》也在文革前夕難逃落幕命運。

This paper comes from Perry Link's 'Traditional-Style Popular Urban Fiction in the Teens and Twenties.' The author gives the permission to have it been translated by Ta-tao Chen. One can find the original work in /Modern Chinece Literature in the May Fourth Era/ published by Harvard University. Qu Qiubai's，the well-know theorist of the May Fourth, opinions are cited several times in this paper. However, this paper stands mostly on the side of traditional-style popular urban fiction also knows as /yuanyany hudie/, Mandarin Duck and Butterfly School. It consists of three sections: The Grown of Butterfly fiction, Butterfly Fiction and Westernization, Butterfly Culture and May Fourth Movement. The author not only shows his deep knowledge of Chinese popular urban fiction in th Teens and Twenties but also both the grown of popular fiction in modern countries after the Industry Revolution and the Chinese vernacular tradition. When the Butterfly School ebbed away after the Communists took power in 1949 and the School was hardly studied in Taiwan prior to the lift of the Martial Law, this paper serves as one of the earlies efforts to evaluate the popularity of the Butterfly School.

通俗小說、鴛鴦蝴蝶派、五四運動、都市、西化、白話小說

popular fictions, Chinese vernacular novels, urban, Mandarin Duck and Butterfly School, May Fourth Movement, westernization