本文從敘事學的角度出發，重新審視並比較分析元代李行道《包待制智賺灰闌記》雜劇與德國布雷希特在1944年完成的《高加索灰闌記》兩部劇作。兩部劇作中的執法者雖然都用了「灰闌扯子」的計謀以斷案，但故事內容、藝術形式、意蘊和主題都迥然不同，然在其不同中，卻又從敘事深層結構裡面窺見了其斷案暴力之同。本論文首先從故事入手，說明兩劇相反的斷案結果；接著分述兩劇的執法者不同的藝術形象；然後以格雷馬斯的「語意方陣」分析兩位不同形象的執法者，其「灰闌」判案各自所隱含的思維意識；接續用格雷馬斯的「角色模式」來探看劇中角色的功能作用，分析兩位執法者不合理的判案過程，如何因兩劇「相同敘事功能的人物與相同的敘事視角」的掩護，而暗渡陳倉的令觀眾接受了作者所欲傳達的不合律法的暴力「正義」。重點在表明兩劇作者以其書寫設計，如何形塑了各具特色的執法人物，展現了屬於他們各自時空的思維意識。

From the angle of narratology, this paper reassesses, and analyzes comparatively the two dramas-Ling Xingdao's ”Rescriptor-in-Waiting Bao's Clever Trick: The Record of the Chalk Circle (Bao Daizhi zhizhuan huilan ji)” in the Yuan dynasty and the German dramatist Bertolt Brecht's ”The Caucasian Chalk Circle (Der Kaukasische Kreidekreis)” in 1994. Although the lawmen in the two dramas use the ”chalk circle” tricks to judge the cases, the contents of stories, artistic forms, implications and themes are quite different. However, in the difference, there is sameness in the deep structures of narrations in which we may peep the violence of their judgments. Firstly, this paper sets out the stories to illustrate the two contradictory judicial results; secondly, it depicts the different artistic images of lawmen in the two dramas; thirdly, this paper uses Algirdas Julien Greimas's ”semantic square” to analyze the different ideologies of two lawmen with different images which was veiled under their ”chalk circle” tricks to judge the cases respectively; finally, it uses Greimas's ”actantial model” to investigate the functions of characters in the two dramas and analyze the unreasonable judicial processes-how those judicial processes, screened by ”characters with the same narrative functions and the same narrative perspectives,” strategically let audience receive the illegitimate violent ”justice” transmitted by the author. The point is to elucidate how the two authors, using their writing designs, formulate their featured lawmen to embody the ideologies in their own space and time respectively.