「射雕三部曲」可說是金庸武俠小說揚名立萬的經典作品，本文以文學心理學出發，嘗試分析金庸小說裡的正邪人物、奇幻場景與曲折情節。透過拉岡的「鏡像理論」，我們可推論：作者以雙鏡投影的方式，建構了小說裡的重要場景—桃花島與絕情谷，各自同中有異、表裡矛盾的關係，一如鏡像投射之前後有別，場景是人物性格的相對縮影；人物性格是場景的輻射擴充，而桃花島主「東邪黃藥師」隱藏在人皮面具下的自戀與自閉，乃源自於潛意識裡的永恆匱乏與無邊欲望。金庸以來回交叉、犯中求避的敘述手法，破解隨機且重複的故事習套，無怪乎廣大的讀者耽溺於金庸的成人童話世界而欲罷不能。

The Condor Trilogy can be regarded as the most famous classic Wuxia （literally ‘martial hero’） novels by Jin Yong. Based on literature psychology, this study attempts to analyze the good and evil characters, fantastic scenes and complicated plots in Jin Yong’s novels. Using Lacan's theory of the ‘mirror stage’, we can infer that: through the method of dual mirror-relation, the author constructed the important scenes in the novel, including the Peach Blossom Island and Unsympathetic Valley. That each of them contains the differences in similarity and the contradictions between exterior and interior is like the difference between the before and after the mirror projection. The scenes are the relative microcosm of characters. The temperament of characters is the radiative expansion of the scenes. And, the narcissistic and autistic personality, hidden under the mask of human skin, of the Peach Blossom Island chief called as ‘East Evil Pharmacist Huang’ is derived from the subconscious eternal scarcity and boundless desire. Through the narrative methods of back and forth crossing description and presentation of new ideas by repetition, Jin Yong has broken the randomized and repeated narration habits. That’s the reason why the majority of readers can’t help but indulging themselves in the adult fairy tales world created by Jin Yong.