「隱喻」（metaphor）是文學作品中常見的修辭技巧，同時也是文本概念場的呈現。〈碾玉觀音〉中的男女主角生命開始有了交集、牽扯，是在男主角崔寧為郡王碾出了一尊玉觀音之後，就文本找證據，也可以細按尋得男主角命運的轉折點皆有此尊觀音或觀音救苦救難概念的出現，顯示作者安插這個道具其實另有深意。本文藉由宋代一般觀音信仰與〈碾玉觀音〉文本中觀音形象的落差、情節結構線以及話本本身極具結論意味的散場詩，逐一比對分析，探討「觀音」在此篇話本中的隱喻意義，發現此篇話本呈現的意義，應當是「神性不敵人欲」的「人文思維」特質。透過這樣一個隱喻的研究，本篇小說的價值，乃至話本小說在已成老套的敘述模式背後，應仍有值得挖掘的獨特思維。

Metaphors are the common rhetoric skills in the literary work, used to circuitously express the deep meaning of the literary work. Only sometimes the meaning is too vague to seize. In “Nian-Yu-Guan-Yin”, a fiction of Song Dynasty, the characters’ lives started to mix up with each other when Guan-Yin（ a status of Goddess of Mercy carved from jade in this fiction） appeared. We believe that there are some profound meanings for this arrangement. This article excavates the metaphor of Guan-Yin by comparing the different spirit and image of Guan-Yin between folk belief of Song Dynasty and “Nian-Yu-Guan-Yin”, tracing the plots and analyzing the ending poem of the fiction. The metaphor of this fiction is that sometimes God could not change what human nature done. Guan-Yin is merciful, benevolent, compassionate, wise, and t ruthful. Mankind has a basic need for religion because there is a weaker side to the human nature. Though human nature is hardly changed, each human being has a weak and needy part of their soul that can be bought, therefore, it’s human being himself decides his own fortune.

隱喻;碾玉觀音;觀音;神性;人欲

metaphor; Nian-Yu-Guan-Yin; Guan-Yin（ Goddess of Mercy） ; superhuman; passions