茅盾創作於1929 年的長篇小說《虹》，講述了女主人公梅行素經由讀書、
婚姻、工作、革命而不斷成長的故事。學界多將前期的梅行素視為典型的個人主
義者，批評其後期轉向左翼革命的過程不夠清晰。本文試圖從兩則對梅行素產生
過重要影響的文本切入，即易卜生的劇作《娜拉》和與謝野晶子的〈貞操論〉，
藉此討論梅行素如何在理論和實踐層面理解並體認新女性的精神困境。在此基礎
上，本文通過分析梅行素與不同女性人物以及革命黨人的交往互動，試圖呈現出
梅行素從個人走向群體的漫長而又複雜的過程，證明其左轉至革命陣營並非一蹴
而就的激情使然，而是在深刻認識到自身的真正困境之後選擇的精神出路。

In 1929, Mao Dun created the novel Rainbow, which narrates the continuous
growth of the female protagonist, Mei Xingsu, through education, marriage, work,
and revolution. Mei Xingsu’s early portrayal is often seen as a typical individualist,
and criticism arises regarding the lack of clarity in her later shift towards leftwing
revolution. This essay attempts to explore Mei Xingsu’s understanding and
realization of the spiritual dilemma of the New Woman on both theoretical and
practical levels. It delves into two texts that significantly influenced Mei Xingsu:
Ibsen’s play Nora and Yosano Akiko’s “On Chastity”. Through this exploration,
the paper discusses how Mei Xingsu navigates the spiritual challenges of the New
Woman. Building upon this foundation, the article analyzes Mei Xingsu’s interactions
with various female characters and revolutionary figures. It aims to illustrate Mei
Xingsu’s lengthy and complex journey from an individual to a collective mindset.
The analysis demonstrates that Mei Xingsu’s turn towards the revolutionary collective
is not a result of impulsive passion, but a spiritual pathway chosen after a profound
understanding of her true dilemma.