李漁(1611-1680)是清初著名的戲曲創作家與曲論家，著有傳奇《十種曲》傳世，而其論劇之作則見於《閒情偶寄》一書。除了戲曲之外，他的小說創作亦頗爲人所稱道。他自己曾說：「吾於詩文非不究心，而得志愉快，終不敢以稗官爲末技」，可見他對於小說創作是十分認真的。李漁的小說以短篇爲主，有《無聲戲》、《十二樓》兩集，其中計有四篇作品改編爲傳奇。李漁曾說：「稗官爲傳奇藍本，有生旦不可無淨丑」，再看他小說集名爲《無聲戲》，可見他在創作小說時，或多或少也參考了戲曲的架構與作法。孫楷第在〈李笠翁與十二樓〉一文中，對於李漁「作小說與作戲曲同一門庭」的看法頗有論述，也針對他「戲曲化」的小說特色評其優劣。本文試圖以李漁的短篇小說〈生我樓〉與據此改編的傳奇《巧團圓》爲對象，探討李漁「以稗官爲傳奇藍本」的創作理念，並進一步就文本分析比較，探討在該觀點影響下之小說創作特色及其所受到的限制。

Li-Yu (1611-1680) is a well-known opera writer and critic. His work on opera, chuanqi, is known as Shr-Zhong-Qi, and his work on opera criticism can be seen in Xian-Qing-Ou-Xi. In addition to his operas, people are also impressed by his works on fictions. He once said that "I am not the one who wouldn't like to get involved in poems and verses writing; nevertheless, I found opera writing is more attractive and it is not as simple as we think." His words revealed that he is very serious about his opera writing. Li-Yu's works are mainly short stories. Four pieces, selected from Wu-Sheng-Xi and Sh-Er-Lou, have been revised into chuanqis. Li-Yu claimed that fictions are the basis of drama, and all stories are completed not only by leading characters but also by other supporting roles. Vice versa, his fiction story "Wu-Sheng-Xi" also reveals that the structures and the methods he used in the fictions are adopted from opera writing. Sun-Kai-Di in "Li-Li-Weng and Sh-Er-Lou" made some criticism on the structures and methods that Li-Yu used in his fictions and operas; he also judged Li-Yu's rather dramatized fictions. This paper attempts to compare and analyze Li-Yu's fiction story, "Sheng-Wo-Lou" and his opera, Qiao-Tuan-Yuan which is revised from the fiction, then tries to discuss Li-Yu's attitude and opinions on opera creating that is based on the structures of fictions. Furthermore, this paper also aims to find out the features and limitations that might occur under these perspectives.