晚明通俗小説蓬勃發展可視爲市民文學運動的興盛，提供雅與俗兩端語言與文體的交流，推動文人市民化以及「上下層文化」的匯通。因此，士人所流行的風潮與百姓有交相一氣的趨向。明代的話本小説不是個人的創作，而是屬於整個時代氛圍與社會生活因素的隱形作者，是李贄、何心隱、徐文場、王思任等人的總投影，他們疏狂不羈的衝創意識與諧謔的態度，可視爲明末民間敘事的隱形作者共有之軀。諧謔取樂是晚明文化現象之一，社會上表裡不一的習氣成爲文學諧謔手法最好的培土，一旦諧擬的意識成型，所有嚴肅、莊重的事件都會「走樣」演出。凌濛初的《二拍》給讀者最初的印象，便是其中所含的喜劇性及諷刺性，這兩個特點也深廣地影響了凌濛初的寫作技巧。本論文要探討的是凌濛初《二拍》相較於馮夢龍《三言》不同的地方是在凌濛初想要呈現的是作者邀請讀者一起來觀看、嘲笑故事中人物荒謬的愚行，在寫作技巧上如何使用荒謬與諧謔的諷刺藝術技法？

The flourishing development of popular fictions in late Ming Dynasty could be viewed as the flourishment of civil literary movement. It caused the interchange between the refined and popular languages and genres, making the educated people urbanized, and boosted the communication between the upper and lower cultures. As a result, the fashion trends for intellectuals are more close to those of the average people. Huabens (vernacular novellas) in Ming Dynasty are not the works of individual creation, but the whole social atmosphere and lives of the invisible writers. They are the whole projection of Li Zhi (李贄), He Xin-Yin (何心隱), Xu Wen-Chang(徐文場), Wang Si-Yen (王思任), etc., whose unruly passion and satirical humor are the phenomena of late Ming Dynasty. The hypocrisy of the society is the best compost for satirical humor. Once the parody is formed, all the solemn and serious situations will go awry. The first impression of Lin Meng-Chu's (凌濛初) Two Amazing Tales《二拍》on the readers is its comedies and satires, which also influence his writing skills. This thesis is going to explore Lin Meng-Chu's (凌濛初) Two Amazing Tales《二拍》, different from Feng Meng-Long's (馮夢龍) Three Aphorisms《三言》, how it invites the readers to watch and ridicule the follies of the characters in the books, and how it employs the writing skills showing the absurdity and satirical humor in the books.