綜觀臺灣短篇小說創作，至少出現過四個唐倩，分別是陳映真在1967年發表於《文學季刊》的〈唐倩的喜劇〉、1972年七等生在離城時期寫作的〈期待白馬而顯現唐倩〉、1978年甫自臺大外文系畢業的張靄珠寫作的〈唐倩和她的情人〉，以及尉天驄寫於1987解嚴當年的〈唐倩回臺灣〉。本文藉由二十年來「唐倩四部曲」中「書生」與「小倩」的四種情思，觀察六○至八○年代的臺灣知識圈現象。本文認為，小說中四個唐倩，與書生的多段情，分別體現的也正是臺灣走過文化帝國主義、理想主義、解構主義以及後現代文化的歷程。本文同時以七等生的「白馬」為中心，指出三篇「續作」呈現的是對於原作「回應」、「模擬」與「致敬」的三種方式；希藉此回應新世紀以來的「臨摹、習／襲作」現象，並且進一步思索，書生、小倩與白馬三者之間，在新世紀的可能演繹。

There were four short stories about Narcissa Tang in postwar Taiwan fiction. The first one was ＂The Comedy of Narcissa Tang＂ written by Ying-Zhen Chen in 1967. Later in 1972, Chi Teng Sheng responsed to Ying-Zhen Chen with a short story ＂Expecting the White Horse, Seeing Instead Narcissa Tang＂. The third one was ＂Narcissa Tang and Her Lovers＂ by Ivy I-Chu Chang in 1978. And the last one, ＂Narcissa Tang Returned to Taiwan＂ was written by Tian-Cong Yu, a good friend of Ying-Zhen Chen, in 1987, the year of the lifting of martial law in Taiwan. This paper discusses a few phenomena among Taiwan literati from the 1960s to the 1980s by examining the relationship between the intellectuals and the Narcissa Tang's depicted in these four short stories. This paper suggests the re-apperances of ＂Narcissa Tang＂ reveal the progress of Taiwan society from cultural imperialism, idealism, deconstruction, to post modernity culture. In addition, this paper points out that the three sequels respectively represent response, imitation and tribute paid to the origin fiction. At last, looking at the recurring themes of the intellectual, the white horse and Narcissa Tang, this paper will also discuss the ideas of plagiarism and imitation in Taiwan's contemporary fiction.