《聊齋誌異》原名《鬼狐傳》，故歷來學者多矚目其中花妖狐媚之人物形象。然據〈聊齋自志〉，此書實出於蒲松齡孤憤之作，則篇中具有士人身分之男主角當才是一書之靈魂重心。而諸士人中，又以具「狂生」身分者，為數最眾。故本文擬自小說敘事筆法切入，檢視小說人物在何種條件之下，乃得以具有「狂生」之稱？並進而解讀在「狂生」的符號背後，「狂生」人物之符號意義如何？及此類型人物與蒲松齡創作意識之關係。 由於《聊齋誌異》中「狂生」者頗眾，但符號運用之虛實與否實則各自有別，故本文惟擇選出書中具代表性之篇章加以分析。在論述眾點方面，首鮮，對趙人物出現之小說情節主題，筆者發現所謂「狂生」者，實可區分為「狂而偃蹇者」及「狂而多情者」兩種類型。其次，由二者所表現之行為加以分析其符號意義，則前者具有「狂生」人物之原型性質，後者則寓意了「狂生」人物的價值理想。最後，筆者將指出此兩種狂生類型在敘事深層結構方面，乃是建立在作者真切的人生體驗之上，而蒲松齡正是以精細高超的敘事技巧，透過《聊齋誌異》兩類「狂生」的形象塑造，成功而深刻地傳達出其鬱志悶懷與價值反省。

In Pu Sung-ling's Liao-Zhai zhi-yi, "kuansheng (wild pupil)" is the most popular type of intelligentsia characters. To sumerize most of the "kuansheng" characters in Liao-Zhai zhi-yi, the profound "kuansheng" characters can be classified by two types: the first one is "wild and frustrated", and the second one is " wild and passionate". The outlook characteristics of those two types of "kuansheng" were analyzed in this article, and the insight significance of those two types of "kuansheng" were also anaalyzed when "kuansheng" was regarded as some kind of "sign". Finally, we find out that both types of "kuansheng" are exactly the multiple mirror reflections of Pu himself.

《聊齋誌異》、蒲松齡、狂生

Liao-zhai zhi-yi，Pu Sung-ling, kuansheng（wild pupil）