這是十七世紀中國白話短篇小說大眾化考察的一部分，本文試圖兼具微觀與宏觀的研究視角，以《三言》、《二拍》的故事為例，就其話語與經由話語所召喚的主體性，考察這一段歷史時期對於小說之「技」與時代之「道」的辯證思維。文中透過詩性話語與審美主體、勸善懲惡與道德主體，指出通俗小說家的文化身分呈現多元化情形，他們做為「世道」的發言人，《三言》召喚詩性主體時，闡發了傳統詩文餔育通俗小說的感悟與技術面；《二拍》藉由闡釋力的強化，擴充雅道的譜系。《三言》、《二拍》所顯示的積極創造語境，形成「生產性」的大眾主體。大眾主體性的表現是教化與馴化的複雜關係，所以小說形塑的主體承載的內涵，既有主流文化早已形成的公論，亦不乏尚未形成定論的新鮮事物和紛繁世相，在這一個歷史澄汰的過程中，話本小說以自身的文類特質承載此一雅俗共聚的文化緩衝帶──演述世相，書寫大眾，意味著既為文化他者造像，又是我群認同的深層辯證。

This article is part of a study of the popularization of Chinese vernacular short stories in the 17th century. It focuses on texts and their relationship with other writings in the same period. Through the study of Sanyan 三言 and Erpai 二拍 and subjectivity summoned by texts, it examines the dialectical thought of fiction skills and manners of the time. As aesthetic subjects, Sanyan and Erpai form the poetic text; as moral subjects, they punish bad deeds and praise virtues. Thus, fiction writers of Sanyan and Erpai have multiple cultural identities. As spokesmen of the manners and morals of the time, while Ling Mengchu 凌濛初 expanded the content of elegant manners using Erpai; Feng Menglong 馮夢龍 summons his stories’ poetic subjects using Sanyan. Both are the result of the influence of classical writings on the skill and aesthetic values of vernacular writings. Therefore, Sanyan and Erpai take productive subjectivity as the process of popularization, which is presented as the complicated relationship between civilizing the masses and being influenced by popular culture. Sanyan and Erpai contain traditions that were already extant in mainstream culture as well as new elements that are the product of a disorderly world. In the process of shaping history, Chinese vernacular fiction gathers the elegant and the vulgar. Writing for the masses is the dialectic between creating images for the other in one’s culture and identifying oneself with a group.