本文主要著眼於《秧歌》一書的小說藝術的成就。借鏡佛斯特《小說面面觀》的圓形人物與扁平人物的理論，以分析《秧歌》的人物形象。此外，又藉用佛氏人物分歷史與小說兩面之說，點出張愛玲的小說故事比歷史更真實。並且將全篇故事情節的發展脈絡梳理一番，以見《秧歌》故事情節之跌宕起伏的節奏，綰合於佛氏的小說節奏理論。結論是，張愛玲的《秧歌》不能視為政治宣傳小說，而是一部有義有法不可多得的曠世鉅著。

This article focuses on the artistic achievement of The Song of the Seedling. The author of this article used E. M. Frostdrer’s innovative theory of round-shape characters and flat-shape characters to analyze the characters images of The Song of the Seedling. In addition, the author uses E. M. Frostdrer’s division of characters into historical and contemporaneous, to show that Chang Ai-ling’s fiction is more contemporaneous than historical. Moreover, the author sorted out the developing episodes of the novel to show Chang’s book truly contains the up and down rhythm, which fits into E. M. Frostdrer’s theory of fiction rhythm. The conclusion is that Chang Ai-ling’s The Song of the Seedling cannot be regarded as a political propaganda novel, but rather it is a novel with justice and law. It is really a rare and great masterpiece in the world of literature.