本論文集中討論路翎最重要的一部長篇小說《財主底兒女們》，這部小說的重要性在於它觸及中國現代文學中最重要的主題之一：個人、家族與集體社會、國家民族的關係。論文分為三個部份：第一部份集中探討《財主底兒女們》中「個人」與「家族」的關係。在這一部分的討論中以巴金的《激流》三部曲作為比較的對照組，巴金的《激流》三部曲繼承五四時期反叛封建家庭的精神，《財主底兒女們》中的知識份子對家庭的態度則較《激流》三部曲更為複雜，既有反叛，又有依戀。第二部份分別以小說上、下兩部的主角蔣少祖和蔣純祖兄弟的精神歷程來看知識份子在「個人」、「家族」、「集體」之間的擺盪和選擇，蔣少祖走的是從叛逆家庭到復歸中國文化的歷程，蔣純祖則是對集體懷抱熱情，投入集體之後，不斷地與集體戰鬥，卻又不斷地離開集體，走上精神漂泊之路。第三部份探討《財主底兒女們》的小說敘述特色，可以看出路翎在小說客觀的、富有歷史性的敘述之外，又強調對人物狂熱的、紛亂的、瞬間變化的內心狀態加以描寫，由此可以看出路翎的小說著重個人與現實搏鬥時的精神狀態，更在意如何在集體中維護「個人」的主體性。

Divided into three parts, this paper will focus on Lu Ling's most significant novel The Moneybags's Sons and Daughters, which touches on the relation of individual to family, to community and to nation. By comparison with Ba Jin's The "Torrents" Trilogy, the first part discusses the relationship between individual and family. In The "Torrents" Trilogy intellectuals struggle against the feudalist family, yet in The Moneybags's Sons and Daughters they feel attachment to it, too. The second part demonstrates how intellectuals sway and choose between self, family and community through protagonists Jiang Shao-zu and Jiang Chun-zu brothers. Jiang Shou-zu was against the feudalist family yet finally embraced the tradition whereas Jiang Chun-zu accepted and refused the community again and again and at last departed from it forever. The third part explores the narrative feature of the novel. In addition to objective and historical depiction, Lu Ling also stressed on describing the frenetic, confused and unstable state of mind of characters confronting reality. What Lu Ling cares about is how to maintain one's individuality in groups.