本文研究對象為李漁「十種曲」之一的《比目魚》傳奇，研究思路為探討劇作家如何從戲劇傳統汲取養分、轉化素材，進而開發屬於自身文本與時代的特殊新意。首先，《比目魚》處處可見《荊釵記》的形、神—從表層結構、人物與情節的摹擬，到深層精神與寓意的追隨，李漁透過對南戲經典《荊釵記》的轉化與延伸，完成他「文心百變」之重塑與創造。其次，本文特別關注此劇「戲中戲」的析論，因兩場「戲中戲」特別能突顯李漁藉改寫、互涉、呼應而「發明」的戲劇創意。最後，劇作家的深心也隱於此劇的題目、主題乃至男女主角的名姓之上，為李漁身兼文人、劇作家、導演（排演）的「多元」卻「邊緣」身分做出幽微的辯護。

The main topic of this paper is one of Li Yu’s ten chunqi plays,Bimuyu (The Paired Fish, or The Flounder), which is the best example to discuss how the playwright assimilated the dramatic classics and transformed the old traditions to “invest” the new play in his times. Firstly, this paper will analyze Li Yu’s “mimesis” of Jingchaiji (The Thorn Hairpin) from the exterior plots and characters to the interior subjects and implied meanings. Through the close reading of the text, it is clear that Li Yu’s
invention came from the original classics of xiwen and zaju. Secondly, this paper will focus on the discussion of two “play within a play” scenes,because they represent the core of Li Yu’s creativity of adaptation
and intertextuality.
Finally, from the contemporary critic’s words, it is shown that the “topic” of the play and the “names” of Sheng and Dan (main characters) were the metaphors which express secretly the playwright’s
inner world as a marginalized literatus.