在中國寓言發展史上，明清時期的寓言作品出現新的方向，文人開始有意識地重視笑話之功用，以寓莊於諧的創作方式將笑話與寓意相互結合，成為風格有別以往的詼諧寓言。值得注意的是，綜觀明清笑話集之中所敍寫的故事，其中所泛指的讀書人，往往代表著迂腐、鄙俗、酸臭等負面形象，寓意出現一致的取向，其間的反差現象，具實地反映明清時期士人學子的醜態與當時社會的生活情狀。因此，本文擬由迂、酸、鄙、偽等四點特徵，分析明清詼諧寓言中的讀書人形象，並從社會文化的角度，歸納不同身分特質的讀書人與寓意的對應關係，期望能更瞭解明清時期對讀書人的嘲諷和批評，以及此類笑話背後所未言的深刻寓意。

Fable writers in the Ming and Qing Dynasties started paying more attention to the function of jokes. They combined jokes with implied meaning in a facetious way, and created a new style of fables-humorous fable. The intelligentsia in humorous fables in the Ming and Qing Dynasties usually had many negative images, such as stubborn, unrealistic, poor, pedantic, vulgar, and despicable. The implied meaning of those images truly reflected the intelligentsia's shameful conduct and the social environment at that time. This article analyzed the images of the intelligentsia in humorous fables in the Ming and Qing Dynasties by beginning dividing them into four types-"yu" (stubborn and unrealistic), "suan" (poor and pedantic), "bi" (vulgar and despicable), and "wei" (bogus and fake). This article also generalized from the four types of images, and figured out the relationships between those negative images and the implied meaning of fables for the sake of understanding the jeers and criticism against the intelligentsia in the Ming and Qing Dynasties.