本文主要探討馮夢龍《三言》故事及評點所顯示之情教觀。目前相關研究討論中，大多就題材在《三言》所佔篇幅數量，或作品所呈現主題思想，探索二者之間聯繫。但若要尋找《 三言》與馮氏情教觀較直接之聯繫，必須從出自馮氏手筆各篇及其編輯改作的方法態度著手。本文主要討論材料即為《古今小說》(《喻世明言》)卷12〈眾名姬春風弔柳七〉，與其他版本之柳永故事，如《清平山堂話本》(即《六十家小說》)之〈柳耆卿詩酒翫江樓記〉與《情史類略》之〈柳耆卿〉，並包含馮氏與此故事主題相關之序言評點意見。 主要研究目的，即在已有《三言》故事與評點編成的相關論文基礎上，進行深入分析，以提出馮夢龍情教思想的重新詮釋，探討其在明代情論、近代思想與社會變革所顯示之價值地位，以及對話本小說文類所造成之影響。

This paper examines Feng Menglong’s馮鴵龍 “cult of qing,” the references of which relate to Feng’s editing of three anthologies of Chinese vernacular short stories－known as the Sanyan三言. In their efforts to indicate the relationship between Sanyan and Feng’s philosophy of qing情, present-day scholars mainly focus their discussions on the theme and number of stories on human emotions (qins) in the Sanyan anthologies. Nevertheless in finding the stronger link between the “cut of qing” and Sanyan, Feng’s attitude in editing Sanyan, as well as his commentaries of the stories, play far more important roles in the research. This paper, therefore, first takes one story in the Sanyan, “Liu Yong柳永 and Famous Geishas,” as a primary example. By studying Feng’s critique of the story, and comparing his story with earlier versions, we are able to anayze what Feng’s “cult of quing” really was, and how he infused his ideas of qing into the editing of the Sanyan. Finally, this paper explores the cultural as wall as the socio-political background of seventeenth-century China in order to determine the way in which Feng Menglong and his ideas of qing were influenced. It is the author’s contention that, while many believe Feng was an avant-garde intellectual and strongly opposed traditional values, the Confucian tradition still maintained a certain influence of Feng Menglong and his “cut of qing.”