馬華散文的「浪漫」傳統可視為創作者跟現實的對話，本論文試圖建立自溫瑞安以降的另一種「浪漫」傳統，並論述「浪漫」的幾種類型，所衍生的散文美學，以及可能造成的侷限；檢視馬華文學一直存在著的「大」主題迷思，此外，尚把個人主義色彩濃厚的浪漫主義「在地化」，確立馬華「浪漫」傳統的書寫模式，包括從失控的抒情、傳火人的憂鬱，到反浪漫的「浪漫」等。除了指出華人（知識分子／作者）面對無法改變的現實，只有用中文「反求諸己」去抵抗／捍衛華人（文化）的具體處境，行之於文，常是不加節制的熱烈和悲情，因此「感時憂國」式的「浪漫」書寫成為當代馬華散文的重要特色。

“Romantic Tradition” of Malaysia Chinese Essay Writing is actually the dialogues between the writer and reality. This thesis shall discuss the “romantic tradition” influenced by Mr. Wen Rui An, dissertate the aesthetics of essay writing derived from the various “romantic tradition” and the possibly built-u limit. We will also inspect the lost thought of the “Big” subject ever existed in Malaysian Chinese Literature. In addition, individualism had been “localized” to assure the writing patterns of “romantic tradition”, including the lost control of one's emotional expression, the mopish successors, the “anti-romanticism” and etc. Confrontation of Chinese (clerisy/author) against unchangeable reality was pointed out. Using language to “seek the cause in oneself instead of somebody else” to counteract/defense the specific places of our Chinese (cultures). Prose were written without any reservation for passion and pathos, thus the “obsession” style of “romantic tradition” had become the significant feature of Contemporary Malaysian Chinese Literature.