《太平廣記》收錄一系列「運思於諧辭讔語之間」的作品，於唐稗中自成一系。其中，以〈東陽夜怪錄〉最屬突出，篇幅既遠過同型作品，角色亦豐富多變。然而，學界對〈東陽夜怪錄〉之評價莫衷一是，此中歧異，頗值得探究。本文擬將〈東陽夜怪錄〉之評價問題，置於唐代小說融會諧讔的角度重新思考，從趙彥衛對於唐小說「文備眾體」說法出發，探討〈東陽夜怪錄〉中「形式」與「寄意」的關係，發掘唐小說吸收諧讔一脈所創變的文學特質，如何與唐代的社會現象相互映照。除了期許對〈東陽夜怪錄〉一文的價值與意義作出公允評斷，更希望藉此個案研究，促成小說史「中心」與「次中心」，甚至「邊陲地帶」的相互對話。本文得出結論如下：其一、諧讔以「虛醜」為修辭策略，若未理解該類手法特有的言意關係，則難以公允評判作品的藝術價值與書寫意義；其二、〈東陽夜怪錄〉在諧讔書寫的創變與缺失，雖採用遠過同型作品的多重讔語結構，卻因過度炫才，影響了以文達意的效果；在時代意義方面，首先，該文隱含唐人對於氏族的對抗，宜置於《玄怪錄》、《宣室志》的書寫脈絡，並與李德裕黨人筆下小說參照對讀；其次，顯示了士人以文逐利的反省，不同於韓愈《毛穎傳》書寫的士不遇傳統，更能代表晚唐士人的精神共相

In this article, I reexamine the ＂Record of Night Monsters in Dongyang＂ and position it in the field of Chinese literature. First of all, I delve into the xie-yin ‘amusing allusions’ style of the ＂Record＂ and build a set of criteria to define xieyin. Second, by applying Liu Xie’s method of inspecting the context of a text for perceiving the meaning, I find that the implications of the riddles designed by the writer of the ＂Record＂ reveal the thought of the literati at that time. There are also series of works of the xie-yin style written by famous literati involved in the political strife of the middle and the end of the Tang Dynasty such as Niu Seng-Ru and Zhang Du. In my opinion, the ＂Record of Night Monsters in Dongyang＂ is highly relative to these series of works