本文試圖透過個案研究的方式分析李漁（1611-1680）的《比目魚》傳奇，以探討李漁從小說到戲曲的跨文類改編中所可能涉及的政治意涵。對過去流傳下來的通俗文本進行改寫與編輯，是晚明以降文人參與文化生產最為重要的一種手段之一。其中又以白話小說與戲曲之間的互涉關係最為密切，兩者之間的改編與借用的情形屢見不鮮。兼擅小說與戲曲創作的清初作家李漁正是此一文學生產方式的實踐者。《比目魚》傳奇改寫自李漁小說集《無聲戲》中的〈譚楚玉戲裡傳情，劉藐姑曲終死節〉一篇。學者過去對於從〈譚楚玉〉到《比目魚》的改編的研究，主要是說明李漁改編過程中所涉及的文體調整技術並對其提出評價。本文則是試圖將《比目魚》放回文本生產的歷史與政治脈絡中加以閱讀，說明《比目魚》有別於李漁其他以娛樂價值與營利目的為主要導向的傳奇作品，實具有其特殊的時代政治意涵。

The present paper aims to analyze Li Yu's 李漁 (1611-1680) chuanqi play The Paired Fish (Bimuyu 比目魚) as a case study and explore the significance of Li Yu's cross-genre adaptation task from a political viewpoint. Revision and adaptation of popular texts had been the major means of cultural production since the late Ming period. The adaptation between vernacular novels and plays, among the many cross genre adaptation practices, was the most commonly seen during late Ming and early Qing. Li Yu, the cultural celebrity who was versed in writing both novels and plays, was the most typical practitioner of this art of cultural production. The Paired Fish, or Bimuyu, was adapted from Li Yu's own short story ＂Tan ChuyuConceys His Love through the Play, Liu Miaogu Dies to Defend Her Honor as the Song Ends＂ in The Silent Play collection. Instead of examining and evaluating the techniques of cross genre adaptation involved in the composition of Bimuyu, the present study attempts to read The Pair Fish against the context of text production and political milieu from which the text emerged. By analyzing the play in this way, the paper tries to demonstrate that Bimuyu, unlike his other chuanqi plays that are strongly entertainment and profit oriented, has a profound political implication.