二戰結束的翌年(1946)，做為日文作家的呂赫若開始以中文發表了四篇小說，語文轉換之快，令人驚異。本文謹以這四篇中文小說，討論其所受到的衝擊，研究結果顯示呂赫若以中國作家郁達夫、茅盾、巴金、葉聖陶為師，在創作過程中借鑑其文句，但師其辭並不師其意，呂赫若此四篇小說緊扣臺灣在日治末期、戰後初期所遭遇的改姓名、說國語、經濟動盪、政治黑暗種種題材的揭露與批判，其思想主題內容與上述諸家作品並不相同。透過其中文的遣詞用字，進一步反思過往研究對其首篇中文不成熟之評述得當否?並檢討這四篇中文小說文句沿襲的現象，我們該如何去面對、去詮釋?藉由此四篇中文小說，可觀察中國新文學作家與臺灣呂赫若的關係，同時也可看到有哪些中國作家作品在臺灣流動、傳播，進而梳理和揭示此一現象以及意義所在，尤其是對於戰後初期臺灣文先與文學的建構提供一定的線索。

In the second year after the Second World War (1946), Lu He-Ruo began publishing his four novels in Chinese. Since he had been an author versed in Japanese language, this switching of languages is very surprising. Based on these four novels, this essay outlines the influences on his mastery of Chinese language by tracing them back to his experience of reading Chinese writers, such as Yu Da-Fu, Mao Dun, Ba Jin, Ye Shen-Tao and Lao She. It is found that although Lu’s phrasing imitates the stylistics of these writers, he did not fully understand meaning underlying their syntactical devices. This is also understandable, as the themes in Lu’s novels are different from those Chinese writers’ concerns: they are focused on the transition from Japanese rule to post-war period in Taiwan, revealing and criticizing, among others, the mass alteration of personal names, the language policies, economic recession, and political corruption. Consequently, contemporary commentators’ evaluation of Lu’s first works after War as immature, in terms of his incompetent use of Chinese language, is really questionable. In examining the phenomenon of linguistic imitation in these four novels written in Chinese, we should readdress questions of interpretation by observing which Chinese author's works are propagated and circulated in Taiwan, and how. It is after we have a more solid understanding of the causes, reasons, manifestation and significance of this propagation and circulation that we could find clues for delineating the contours of post-war Taiwanese culture and literature.