In the development of Chinese traditional literature, Ching Dynasty was a concluding period, producing abundant works in the form of poem, chi, prose, novel and drama. However, Chen Wen-Shu was seldom mentioned in this thriving and prosperous literary scene. The focus of modern scholars was mostly on the remarkable writings of women in Ming and Ching; Chen’s achievement and his creative activities were mentioned mainly because of his close association of female writers. In Ching, Chen was only one among many literati who were enthusiastic about creative writing. His works circulated amongst his friends, but in the wider literary circle at that time and among present scholars, he remains relatively unknown. However, Chen’s works were received differently in Japan. The story begins with Chen himself and the hero and heroine in The Legend of Catching the Spring (補春天傳奇 ), which was about the encounter of a blind-passioned literati and a mysterious and talented woman. Chen acquired the literati’s image of fragrant trousseau style by looking for the vestige of beauties and constructing gravestones for talented women. In the circle of Qianjia School of poetry (乾嘉詩壇), Chen acknowledged Yuan Mei (袁枚) as his master. Once widely slandered, Chen nevertheless formed his unique style of Chinese quatrain in a foreign country. His poetry collections were published continually. It not only reveals Meiji literati's profound cultivation, but also indirectly demonstrates how they strive to respond to the new age in Chinese poetry writing.