本文以章回小說中的韻文結構為思考中心，聚焦韻文段落於小說文本的敘事功能及相關特質，分析小說作者之編寫意識。藉由分析百回本及百二十回本《水滸傳》對韻文之增刪或調整及運用差異，同時對照金本《水滸傳》七十回本刪落多數韻文等編寫現象，討論一、韻散相雜之書寫認知；二、文本面貌之型塑差異及三、寫作取向之可能詮釋，以期探討小說作者對於韻文的不同處理所形成的敘事功能、多重敘事層次，以及增刪改換之後所形成的結構異同等文體意涵，並檢視其中所呈現的作者編寫意識，此一結果或可提供章回小說在敘事模式與藝術特質的相關解釋。

The writer of this article focuses on the verse structures usually appeared in the Chinese chapter novels, trying to analyze the author's narrative consciousness. The writer compares various verse constructions and the differences among the one-hundred-chapter version and the one-hundred-and-twenty-chapter version in ”Shui Hu Zhuan” as well as the seventy-chapter version done by Jin, Sheng-tan. The latest version of ”Shui Hu Zhuan” is the result of the deletion of many verses of the previous versions.Furthermore, the authors' literary style of consciousness and the written performance perhaps procure similarities and differences in novel structures. This result may provide some explanation of the correlation between the special characteristics in Chinese chapter novels.