歷來論者多所留意白先勇小說的「中國性」，然而此一中國性往往被淺白地理解為文化經典的襲用與語言風格的雅正，對於其中更為深層的文學傳統質素卻少見細膩、複雜的討論。本文以此為關照，將抒情傳統論述作為酷兒化的對象，以同志小說《孽子》為例，嘗試就文學技法與文化承衍的兩個向度，分別討論白先勇小說裡中國性與當代同志題材的融匯與接合，以推動具必要性的知識進程。本文指出，抒情傳統肇始者屈原「發憤以抒情」之「情」，隱含同性情慾的伏流，以此成為互文性參照的基礎，使之與當代同志書寫遙相呼應；而在抒情傳統中所習見的「情景交融」與「含蓄美學」的文學技法，也在當代同志書寫中轉化，延展出偷渡同性情慾的政略意義。另外，就性別文化與抒情主體的生成而言，小說《孽子》中的男性人物建構，除了在共時性當中有著新、老同志的差異，在歷時承衍上，也能見到由孤臣到孽子的性別演義軌跡

Although the conception of Chineseness in Xian-Yung Bai's novels have been mentioned quite widely in previous studies, most of the critical discourses have focused primarily on how Bai appropriates cultural classics and deploys elegant languages of the so-called Chineseness at the expense of the Chinese lyrical tradition which Bai's novels are deeply rooted in. This paper thus argues for a necessary intellectual project of queering lyrical tradition to make it a method to better unravel the problematic articulations of Chineseness and contemporary queer representations in Bai's novel Crystal Boys from two perspectives: literary techniques and cultural inheritance. In this paper, I indicate that male same-sex eroticism embedded in the writing of qing (情) by the very first author of Chinese lyrical tradition Qu Yuan enables us to investigate the inter-textuality of Chinese lyrical tradition and contemporary queer writings. Two major literary techniques of lyrical tradition-＂blending of sentiment and scenario＂(情景交融) and ＂implicit aesthetics＂(含蓄美學) - have been transformed and formulated a particular cultural politics of male same-sex eroticism in Bai's queer writings. Furthermore, in Bai's production of gender culture and lyrical subject, not only synchronic differences of cultural codes between comrade (老同志) and Tongzhi (新同志), but also diachronic traces of gender and sexuality passing from Qu Yuan to Crystal Boys can be observed in the construction of masculinities in this novel