在中國傳統文學的發展歷程，清代是個回眸喧嘩的總結時刻。無論詩、詞、文章、小說、戲曲都留下極為豐富的成績單。在這片喧鬧向榮的文學景象，本文所關注的陳文述（1771-1843）甚少被提及。現代學者的關注大多伴隨著明清女性書寫的表現亮眼，與閨秀才女密切聯繫的陳文述事跡及其詩文活動遂而被敘述。陳文述不過是清代眾多熱衷書寫的文人之一，其詩文或許在自身的交友圈稍有名氣，在清代文壇，在當代學者論述之中仍處邊緣。
陳文述及其作品遠渡到域外日本得到不盡相同的對待。本文從陳文述與馮小青為男、女主角的《補春天傳奇》談起，一段癡情文人與謎魅才女的陰陽知遇。陳文述以遍訪美人遺迹，修建才女墓碣的風流雅事，獲得香奩情種的文人形象。而在乾嘉詩壇，奉袁枚為師，飽受訾議的陳文述，在域外自成絕句一家，選編詩集陸續出版。凡此顯示明治文人對於中國文學的深厚涵養，間接也展現以漢詩書寫回應時代新景觀的努力嘗試，值得進一步觀察。

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.