本文嘗試由魚玄機與王香禪二人的相似之處作為較基點，希望從二人的身份、遭遇及時代背景來探討，當婦女被棄時，其因應之道與心理轉折的過程。此外，不同的時代背景(唐代及日治)對於婦女的創作，會產生何種程度的關涉？二人在被棄之後，是否各自發展屬於自己的，獨特的詩作風格？ 從誠作來看，魚玄機勇於表達備自己的感情，毫不矯揉與做作，這種生命情調的激昂，和其「女冠」的身份，以及唐代開放的社會背景關係密切。此外，對於魚玄機本身「女性意識」的呈現，我們也予以高度肯定，她的作品抒寫真詩、坦白大膽，在一定程度上超越了閨閣文學中含蓄內斂的一面，因此我們可以說她的詩作開了一個新的局面。 以此標準檢視王香禪，其所受的社會與身份包袱，遠較魚玄機來得沉重，魚玄機「被棄」之後，在追尋真愛的過程中「屢仆屢起」，不在乎世俗的眼光，令人激賞。而王香禪在「被棄」之後的作品，在在反應出因為情場不得，而埋首於佛教之中，以之作為一種「逃避」的態度，二者相較之下是比較消極的。日治時期「女性意識」的不因其距離現代較近而有所提升，反因長懲期的深化醞釀，形成更加牢不可破的圍籠，從魚玄機王香禪，其「女性意識」的不升反降，更可以看出這樣的遞嬗變遷。 唐代風氣的開放，在一定程度上助長了魚玄機敢於追求所愛，熱烈直接的詩風。反觀王香禪，由於所處的日治時期，是一個雙重迫害壓抑的時代，使她無法地暢所欲言，詩風趨向內斂深沉。而二人在被棄之後，的確各自發展屬於自己的，獨特的詩作風格。在各自所處的時代中發顯自己的光芒。

This essay attempts to take the similarity of Shyuan Ji, Yu and Shiang Chan, Wang as the starting point of comparison; tries to probe into the thesis-when a woman is deserted by her husband, what action will she take and what kind of the procession of transition in her mentality will she take and what kind of the procession of transition in her mentality will she have. Furthermore, to what degree that different backgrounds of eras (Tang Dynasty and Taiwan during the Japanese-occupied period) relate to literary creation will be. When both of them were deserted, did they develop different and unique style of poetry? From Shyuan Ji, Yu’s poetry, she is brave in expressing her feelings without affectation. Such tone of life is spirited; it highly relates with her position of “female Taoist priestess” and wide-open society background in Tang Dynasty. Besides, we should approve the “consciousness of female self” in Yu’s poetry highly. Her poetry is sincere, candid and bold. On a level, she surpassed the reticent part of boudoir literature. Therefore, we can say that Yu’s poetry initiates a brand new prospect. To examine Shiang Chan, Wang with the same level, she bore a heavier burden of social status and community than Shyuan Ji, Yu’s. After Yu was deserted, she fought again and again in spite of setback in searching for true love, and never cared about judgment of common customs. It is worthy of being appreciated tremendously. However, Shiang Chan, Wang’s works after she was deserted shows her attitude-when she cannot do well in the field of love, she will shirk into world of Buddhism as a way to escape. By contrast, Wang is passive. “Consciousness of female self” in Taiwan during the Japanese-occupied period did not be lifted because it was near the present age. On the contrary, the bonds on female have become too strong to break because it enhanced and deepened through a long period storing. From Shyuan Ji, Yu to Shiang Chan, Wang, the status of “consciousness of female self” did not lift but descend; we can observe the trend more clearly. The open-wide atmosphere in Tang Dynasty put a premium on Shyuan Ji, Yu to have courage to search for her love on a level. To set off by contrast, Shiang Chan, Wang was in Taiwan during the Japanese-occupied period which was constrained under doubled pressure. It made her cannot pour out all that she want to say so the style of Wang’s poetry became more and more introverted and deep. However, when both of them were deserted, they had developed different and unique style of poetry. They shined in their own era.