《再生緣》和《筆生花》是有清一代最具影響力的女性彈詞小說。兩者都涉及了女英雄女扮男裝，離家出走，在公眾領域建功立業的基本情節，但敘事重心有所偏移。《再生緣》在出走女性是否要回歸閨閣的問題上煞費筆墨，而《筆生花》的敘事興趣則在女英雄回歸閨閣後的家庭生活。本文擬探討這一敘事重心轉移背後的思想脈絡和美學趣味。

This paper investigates the narrative patterns of the two female tanci novels, Zai sheng yuan and Bi sheng hua, in the Qing dynasty. As the most influential tanci novel, Zai sheng yuan depicts the heroine’s entrance into public sphere in male like dressing. Its climax falls on the question of whether the heroine should at last return to her inner chamber after gaining her name in public society. Bi sheng hua’s heroine, on the contrary, even though sharing similar adventure experience as of Zai sheng yuan, the focus was on her domestic life after she returned home. This paper attempts to analyze the shift of the narrative discourse in the two contexts in order to propose the self-identity and living circumstance of women in Qing dynasty.