长期以来,学界一直以新文学的标准来容纳肯定张恨水,视张恨水创作后期转型的目的为靠拢新文学、走向现实主义。实际上,张恨水的后期转型,是他的创作活动因受外部环境的影响而引发的对自身创作姿态的自觉调整。在文本细读的基础上,通过分析其转型期前后的《过渡时代》与《艺术之宫》,比较叙事结构的差异,考察创作背景,从而彰显张恨水前后期创作的延续与转换,探讨其转型问题。对于这样一位新旧并存的作家,以单一的新文学标准对其进行评价,必然会遮蔽其丰富性,回到作家作品本身,才能呈现其创作活动的驳杂面貌。 For a long time, the academic circles have always accepted Zhang Henshui as the criterion of new literature, and regarded the purpose of the later transformation of Zhang Henshui’s creation as moving closer to the new literature and toward realism. In fact, the late transformation of Zhang Hen-shui is the conscious adjustment of his creative attitude triggered by the external environment. On the basis of careful reading of the text, this paper analyzes the differences between the narrative structures by analyzing the “transitional period” and “the palace of arts” before and after the transitional period and examines the creative background so as to demonstrate the continuity and transformation of Zhang Henshui’s pre- and post-creation, problem. To such an old and new co-existence writer, evaluating it with a single new literary standard will inevitably obscure its richness and return to the writer’s work itself, so as to present the complicated appearance of his creative activity.