1950年代的臺灣文常史經常被論者以「反共文學」或「戰鬥文藝」這類獨質的詞彙定位，臺灣目前已出版的兩部臺灣文學史專書中，對於「反共文學」這一文類並未給予正面的肯定和評價。司馬桑敦在《野馬傳》以中國為場小，由「我」自述其戲子生及所經歷的愛情遭遇來展開在動亂時代中，作者將「我」所經歷的愛情、政治以及革命，加上男性的旁觀、被動虛假的形象，益發襯托馬的自主與自覺，以下將析論司馬桑敦如何書寫「野馬」以做為顛覆、反諷男性家國革命的陰性策略。 因此，筆者在本文中並不意在論述臺灣文學「五○年代反共文學/政策」的問題，而是意將目前臺灣文學界對於「反共文約」的評論做一簡述，試從評論者的「反共文學」「定見」來檢視司馬桑敦的作品是否徒具「反共」而無「文學」，以陰性策略的角度嘗試分析司馬桑敦「野馬」的藝術表現如何反映時代意義。

1950’ Taiwan Literature was always called “anti-communism literature” or “anti-communism art”. In two books which were published and about Taiwan literature history, they didn’t gave it a good evaluation. “Yeh Ma Chuan” written by Szu ,a sang-duen happened in China, and Szu Ma used the first person of view, “Yeh Ma Chuan” is a novel about love, politics, and revolution. Besides, by male of view and fake image to set off “Yeh Ma” s independence. Therefore I do not discuss the “fight literature/policy” of the age of 1950’s Taiwan literature. I analyzed “「anti-communism literature」” in Taiwan Literature Area. I tried to find that if the works written by Szu Ma Snag-tun only had the conscious of againsting the Communistism, but it didn’t have value of literature. And I also tried to find that how “Yeh Ma” used female strategy to express the meaning of age.