桐华创作的古代言情网络小说《步步惊心》、“大汉情缘”系列和“山经海纪”系列，塑造了若曦、金玉、云歌、西陵珩、小夭等鲜活饱满的女性主角形象，在三个不同的古代背景下书写错综复杂的情感内容与困境。从情感内容上看，这些女性角色的情感困境生于爱情与其他利益、身份立场、权力局势以及外界环境发生冲突之时，充满矛盾。从情感呈现方式上看，桐华用“才子佳人”叙事、“一女多男”情感模式和“虐恋”情节、悲剧结尾，构建人物的情感内容与观念。从情感价值上看，作者“引导”女性人物处理纷繁复杂的情感关系，在给读者感性刺激体验的同时，传达她“爱情很美好，但爱情不是唯一”的情感认知以及女性自立、自爱、自主意识。但在商业化、同质化、娱乐化的网络小说生产与消费模式下，桐华的古代言情作品难逃其咎，在历史戏说和神话重写的过程中也存在其局限性。

Tonghua's ancient online romance novels "Bu Bu Jing Xin", "Big Han Love" series and "Mountain Jing and Sea Ji" series create vivid and full female protagonists such as Ruoxi, Jinyu, Yunge, Xiling Heng, and Xiao Yao, and write intricate emotional content and difficulties under three different ancient backgrounds. From the perspective of emotional content, the emotional dilemma of these female characters is born when love conflicts with other interests, status and position, power situation and external environment, and it is full of contradictions. From the perspective of emotional presentation, Tonghua uses the narrative of "talent and beauty", the emotional mode of "one woman and many men", the plot of "sadistic love" and the tragic ending to construct the emotional content and concept of the characters. From the perspective of emotional value, the author "guides" the female characters to deal with the complicated emotional relationships, and conveys to the readers the emotional cognition of "love is beautiful, but love is not the only one", as well as the  onsciousness of female self-reliance, self-love and autonomy. However, in the commercial, homogeneous and entertainment network novel production and consumption mode, Tonghua's ancient network romance works cannot escape its blame, and also has its limitations in the process of historical drama and myth rewriting.