纵观五四前的文学书写,“母亲”形象始终是人物画廊中一个被遮蔽的形象,一直处于父权统治的帮凶与奴隶的身份评价中,并没有形成独立的人格。而袁昌英在五四关注于“青年”的浪潮中,却发掘了“母亲”形象,在同时期觉醒女性作家笔下传统的“贤母”与“恶母”形象的两极对立中,从心理分析角度揭示了“母亲”的悲剧根源,将“母亲”作为一个有血有肉、独立而完整的“自然人”的形象塑造起来,对于其后塑造“母亲”形象的作品具有开创性意义。 Throughout the pre-May Fourth literary writing, the image of “mother” has always been an obscured image in the gallery of characters and has always been in the evaluation of the identities of the accomplices and slaves of patriarchal rule, and has not formed an independent personality. However, during the May 4th Movement, Yuan Chang-ying paid attention to the image of “mother” in the wave of “youth”. In the same period, Yuan Chang-ying awakened the image of “mother” and “mother” of traditional writers From the angle of psychoanalysis, reveals the tragic root cause of “mother” and the image of “mother” as a flesh and blood, independent and complete “natural person Mothers ”image of the work has groundbreaking significance.