茅盾《蝕》三部曲與張春帆《紫蘭女俠》分別刊載於1927 至1928 年 間的《小說月報》，及1929 至1930 年間的《紫羅蘭》，二者發表的時間點 相當接近，小說描述背景亦有銜接與部分重疊之處，同時，二者且皆屬「革 命加戀愛」題材。在嚴肅文學及通俗小說各自的傾向性、讀者群預設及表 現模式影響下，共同體現了1920 年代末紛雜多樣的社會情境與人物表現。
本文由身體角度出發，探討二者在革命背景下，對於男體與女體有何相異描繪，以及其中所隱現的革命焦慮與自我投射。同時，茅盾小說中的男性病體，與《紫蘭女俠》裡的武俠身體也可互為對照。經由身體展演的分析，本文進一步指出在「革命加戀愛」小說裡對於「革命的戀愛觀」之思考，以及各自相異的表現模式與內在精神。希望藉此形成嚴肅文學與通俗文學相互參照的視野，亦能有助於文學史描述的豐富化。

Mao Dun’s trilogy ‘Corrosion’ was published in Fiction Monthly Magazine from 1927 to 1928, and Chang Chunfan’s ‘Violet Heroine’ was published in Violet Magazine from 1929 to 1930. Not only their published time was near, the overlapping backdrop of the two works also showed convergence. Moreover, both their theme was “revolution plus love.” The two works reflected the complex and diverse social situations and people’s behaviors at the end of the 1920s as well as showcased the intertextuality and dialogues between serious literature and popular fiction. This article will discuss and compare the descriptions of male and female bodies against the backdrop of revolution as well as the implicit revolution anxiety in ‘Eclipse’ by Mao and ‘Violet Heroine’ by Chang. For example, the sick male body in Mao’s work forms a contrast to the martial female body in Chang’s story. Through the analysis of body display in the two works, this article further points out their difference of display modes and inner spirits under the same theme of “revolution plus love” in the hope to show the intertextuality and enrich the dialogues between serious literature and popular fiction.