在台灣文學論述的傳統中，向來有一個位階系統，視女作家創作比男作家創作較無足輕重；女性創作與文學史頁空白的關聯，更植根於學界普遍認為女性創作的通俗取向，華嚴這位創作力豐沛，也得到讀者肯定的作家，為何會「滾落在幽靜的角落，猶藹藹含光等待有心人的鑑賞」？華嚴小說的題材和多數女作家一樣以情感為主，「言情」小說是否等同於「通俗」，以致得不到傳統文學觀精英傾向品味的認同？本文將以華嚴1960年代的作品為研究中心，細究她如何「言情」，輔以60年代女作家創作環境的探討，期能為華嚴作品在文學史頁上找到一個合宜的定位。筆者研究指出，華嚴作品中透露的女性意識，和1960年代女作家有同有異，華嚴的女性意識不是女性主義色彩強烈、抗議父權體制，也不是鼓吹女性三從四德、溫柔敦厚的傳統價值，而是以平實的故事表現女性追求自我的可能性。同時，學術界對大眾文化的研究、討論的氛圍要到1980年代才成形，而此時和華嚴一樣在通俗和嚴肅中擺盪的女作家新世代已經出現、茁壯，甚至當代「閨秀文學」的說法也是指稱這一階段的女性作家，於是在討論「閨秀文學」的學術氣氛成熟之際，華嚴又已是被遺忘的閨閣作家了。

It seems most of the literary criticism that appeared hitherto, is inclined to appraise stories written by female authors lower than those by male authors. The reason happens to be female authors are generally more sentimental, and stories that contain more sentimentalism are apt to become more vulgar, such is the traditional opinion, on prejudice. Many critics' criticism on Hua-Yen and her novels are not immune from the mentioned prejudice.This thesis, try to study novels written by Hua-Yen, throughout 1960's analyzing how she tried to depict the sentiment and passion of women who lived in that age, so as to give proper criticism and position to Hua-Yen which is due to her.It is my intension to present Hua-Yen as she was. She shared some ideas typical of that age, yet stick to some idea to her own. She did not hold fast to feminism. She did not protest against paternity. Neither had she agreed to the virtue of female obedience.She presented women as they were. She presented the possibilities of women as the seasonably were. She was a pioneer to the free discussions of women culture which emerged on 1980's. However, when these discussions emerged and ripened, she was barely remembered.