「重複」是民間敘事的重要特徵之一，在口傳敘事過渡到文本敘事的過程中，作家仍會有意無意的在作品中，反映出重複的情節或結構。就文句而言，重複的字詞可製造出韻律與節奏之美；就故事結構而言，重複的敘事可以強化故事的情節與意象。今以明代金聖嘆視為天下才子必讀書的《水滸傳》做為研究對象，觀察其中的重複敘事現象，發現《水滸傳》的重複敘事現象不僅在章法結構上比《三國演義》、《西遊記》等傳統古典小說明顯突出，犯中求避的漸層敘事手法表現在用字遣詞、情節佈局上更達到爐火純青之境，當代美學評論家葉朗即認為金批本《水滸傳》的小說藝術美學可視為空前之作。本論文先從「互文性」觀點來看《水滸傳》承先啟後的重複現象，並試著分析作品裡文字、章節、內容的重複敘事，最後再以米勒在《小說與重複》裡提出的「柏拉圖式重複」與「尼采式重複」為理論基礎，剖析《水滸傳》裡種種看似相互對立，卻又彼此依存的重複敘事技巧。

One of the important characteristics of folk narrative is ”repetition”, and many authors will often either intentionally or unconsciously reflect the repetitive scenes or structures in their works. For the sentences, the repetitive words and phrases are able to create a sense of beauty on intonation and rhythm; for the structure of narration, the repeated narratives are able to intensify the plots and images of the stories. In the paper, by using ”Shui Hu Zhuan (or Water Margin)” of Chin Sheng-Tan from Ming Dynasty as the research subject, to make observation on the occurrences where there are repeated narratives. From the standpoints of ”Intertextuality”, to take a look on the repetitive occurrences of ”Shui Hu Zhuan” in the paper as how they start the overtures to where they make the twists of turns, and with attempt to make analysis on the repeated narratives of words, chapters, as well as contents in the work. Finally, with ”Plato's Repetition” and ”Nietzsche's Repetition” proposed by Miller in ”Fiction and Repetition” as the theory foundation, to dissect the aesthetics of repeated narratives in ”Shui Hu Zhuan” what all are seemingly to look as the opposite of one another, but yet they all are interdependent.