摘 要 本文聚焦「蒲派」續書代表作《螢窗異草》為觀察重點，作為《聊齋誌異》 「嗣音」的《螢窗異草》究竟如何藉續衍表明其文化選擇。從「香豔千古」的 「艷／異」之衍古性切入，探究面對清代文言小說的歷史處境，《螢窗異草》的 書寫究竟意味著什麼？這在以簡約為美，著重「實錄」態度，主張「著書者筆」 的「紀派」筆記小說作家的創作觀中，為何難以認同？可作為考察清代文言小 說「蒲派」、「紀派」文化選擇的諸多思考。本文從性文化的話語檢視與情文化 的深層結構，試圖探索不同傳統在清代的文化處境，尤其是故事透過敘述與講 評形成一個意義的共構關係，說故事的效力與詮釋之間對整體文化生態各自表 達出什麼立場與感受？清代典型的「蒲派」續書《螢窗異草》作為《聊齋誌異》 「知（嗣）音」之作，以泛化的筆法來「衍古」、「啟蒙」，充滿了文化重構的意 涵。《螢窗異草》的綺想世界，透過性文化與情文化的書寫，既掀起了「冒道」 的經典意圖，也不斷回應「香豔」的文化特質。

Abstract This article focuses on discussing “Ying Cunag Yi Chao” (YCYC), a representative novel of Puian. As a continuous topic of “Liao Zhai Zhi Yi”, it makes us wonder how YCYC chooses its cultural perspectives to become a continuous novel? Inheriting the character of lust and oddity from the ancient novel, and from the historical background of Ching dynasty, what does YCYC meant to the readers? Why the other theory of novel, Chiian, who favors simplicity and fact reporting does not agree with YCYC? The author of this article compared the considerations of cultural choice of Puian and Chiian, explained their view points of sex and love, and described the co-relation of story telling and writer’s commentary which co-exited in the two novels, in hope to understand how the different novel theories affect the cultural atmospheres of Ching dynasty.