〈與得到第一屆茅盾文學獎的《將軍吟》相比，莫應豐生前的最後一部長篇小說《桃源夢》並未受到很多關注。然而，無論從莫應豐的個人創作歷程，還是從上世紀八十年代中國文學的發展來看，《桃源夢》都可謂別樹一幟，值得關注與詳細分析。本文希望引入「惡托邦」書寫的研究視角，深入考察小說在文學形式上的獨特之處。與此同時，本文嘗試把小說置回八十年代的文學、文化思潮當中，探析它與「傳統文化批判」思潮之間的深刻關係，以及作家對儒家烏托邦和文化大革命的反思。

If compared to Jiangjun Yin (General’s Chant), which was awarded with the first Mao Dun Literature Prize, Mo Ying-feng’s latest work Taoyuanmeng (Peach Blossom Spring) must have been overlooked. Nevertheless, the latter is significant to Mo’s writing career, as well as that of the literature history of China in the 1980s. With perspective in light of “Dystopia,” this paper seeks further to investigate the distinctiveness of Mo’s rhetoric. Meanwhile, by placing Mo’s work into the cultural thoughts of the 1980s’ China, this paper aims to reconsider the profound relations between the novel and the trend of the “radical critique of traditions;” and to explore the author’s reflections on Confucian Utopianism and Cultural Revolution.