本篇論文要在大河小說的脈絡下討論謝霜天《梅村心曲》（1974-1975）。《梅村心曲》雖然具備葉石濤所謂三部曲式的大河規模，但至今受到的關注仍十分有限，極可能是因為與一九九〇年代本土派經典化台灣大河小說的後殖民史觀不吻合的緣故。在重回一九六〇年代葉石濤轉介法國文學「Roman-fleuve」譯出「大河小說」的最初語境脈絡探察，《梅村心曲》是一部具有台灣客家文化特色的長篇歷史小說，也符合葉氏提出自世界文學的視野切入歷史與人文關懷的觀點，可說是台灣第一部女性大河小說。因此，即使謝霜天揭示的中華國族史觀並不相應爾後本土派對台灣大河小說的文學詮釋，實不應被排除在外。據此引起的反思是，一九九〇年代由本土派建構出具台灣意識的大河小說框架，是否有調整的必要。再者，自性別意識著眼，本文以謝霜天《梅村心曲》作為個案出發，指出在男性大河小說的國族認同與女性特質的樣板性單音外，女性大河小說反倒呈現出更多元的關懷面向；謝霜天也有別於男性大河小說以男性中心的思考，自女性意識寫出成為家庭經濟支柱與真正親炙土地的客家女性，亦即在她筆下的客家女性不再是陪襯品，也不僅只是台灣國族意識的象徵性存在而已。

This paper discusses Xie Shuang-tian’s Mei Cun Xin Qu (1974-1975) in the context of Roman-fleuve. Although Mei Cun Xin Qu meets what Yeh Shihtao calls “the trilogy-styled scope of big river,” the novel has attracted rather limited attention over the years. This is possibly because its historical perspective does not fit in with the postcolonial historical perspective of Taiwanese localist Roman-fleuve in the 1990s. Revisiting and investigating the original French Roman-fleuve discourse introduced to Taiwan and translated by Yeh Shihtao in the 1960s, this paper argues that Mei Cun Xin Qu is not only a historical novel characterized by Taiwanese Hakka culture but also speaks to Yeh’s historical and humanistic concern of world literature. It is quasi the first Taiwanese female Roman-fleuve. Thus, even though Xie’s Chinese nationalistic view of history is not compatible with later localist literary interpretations of Taiwanese Roman-fleuve, the novel should not be excluded from the genre. A resulting reflection is whether the Roman-fleuve framework constructed by Taiwanese localists with Taiwanese consciousness since the 1990s should be adjusted. Furthermore, from the perspective of gender consciousness, this paper examines the case of Xie’s Mei Cun Xin Qu, pointing out that unlike male Roman-fleuve’s prototypical monotone of nationalism and female traits, female Roman-fleuve contrarily presents more diverse aspects of care and concern. Xie also departs from the male-centric thinking of male Roman-fleuve by writing with female consciousness and depicting Hakka women who become the economic sources of their families and who connect with the land. In other words, Hakka women are no longer foils for men in Xie’s portrayal, nor are they merely symbolic beings of Taiwanese national consciousness.