本文比較張愛玲早期中篇小說〈金鎖記〉與後來改為長篇《怨女》之間的差異。從人物塑造的角度而言，例如男主角三爺是否由〈金鎖記〉的正經謹慎變成《怨女》的卑鄙輕浮？還是像女主角一樣，只是更像現實界的人物而已？更圓型或典型？而人物的減少，曹七巧的女兒姜長安這個角色在《怨女》中消失了，其理由與影響為何？又從結構的角度而言，如果《怨女》是循環型的，則其所顯示之悲劇是否早已成為古今女性都不能輕易化解之宿命？更以風格的角度而言，《怨女》裏的時代背景描寫增加許多，情節不那麼戲劇化，文字轉為平淡自然，如此是否更能顯露一種現代感？

This paper compares two works of Eileen Chang (Zhang Ailing): her early novelette “Golden Lock Notes” and its later version as the novel A Grumbling Maid. Many differences can be identified between them, with potentially significant implications. For example, with respect to characterization, does the hero, Lord Third, change from a decent and cautious person in “Golden Lock Notes” to a mean and frivolous guy in A Grumbling Maid? Or would it be more accurate to say that the portrayal of the character in the later version is more realistic and truer to life, just like the heroine herself? Is the character rounder or more typical as a result of this change? Also, the character of Jiang Changan, daughter of Cao Qiqiao, does not appear in A Grumbling Maid. Why, and what is the influence of her disappearance? From the viewpoint of structure, if A Grumbling Maid is meant to be cyclical, does this imply that the tragic ending is the inescapable fate of traditional and modern women alike? Finally, in terms of style, with the later version loving more descriptions of historical background, a less dramatic plot, and simple and natural writing, can it be concluded that Chang wrote this novel in a more modern way?