【摘要】 优秀的小说家之创作常基于诗词、史笔以及议论，使其小说文本兼具诗性之情、史笔之事、哲思之理。《聊斋志异》即是身兼诗人、词人、小说家多重身份的蒲松龄所创作的优秀小说集，既兴发于“缘情而绮靡”的诗性，又以叙述哀怨缠绵的“情缘”故事见长。在《青凤》《狐梦》《宦娘》《荷花三娘子》《葛巾》《小翠》《辛十四娘》等名篇中，蒲松龄写出了以书生为代表的男子们与各种花妖狐鬼化身的女性们的相亲相爱。这种相亲相爱往往始于“缘”，终于“分”。缘起时，男女邂逅，凭着一见如故或一见钟情，拉开一场场如同《牡丹亭》般“情不知所起，一往而深”的序幕；缘断时，男女往往因某种原因抱憾而散，曲终人不见，令人凄婉伤感。作者笔下种种“情缘”叙事是自我身世身影与心象幻影的诗意投射，既投射出作者关于人间情缘及自身情缘的感受，亦投射出“缘断情犹在”的人生信念。《聊斋志异》这种兼具传情性、传奇性的“情缘”叙事多遵循“怨而不怒”“哀而不伤”的传统诗道，以凄美为审美格调。更多还原

【Abstract】 The creation of excellent novelists is often based on poetry,making their novel texts both poetic,historical,and philosophical. Strange Tales from a Chinese Studio is an excellent novel written by Pu Songling,who is also a poet and lyricist. It not only originated in the poetic nature of “love and ornate”,but is also known for narrating melancholic and lingering “love stories”. In such famous works as Qing Feng,Fox Dream,Huan Niang,Lotus Three Women,Ge Jin,Xiao Cui and Xin Fourteen Women,Pu Songling wrote about the love between men and various fox ghosts represented by scholars. This kind of love often begins with“fate”and finally“foreordination”. At the time of origin,men and women meet,with the first sight or love at first sight,open a scene like the“love does not know the beginning,a deep”like the Peony Pavilion;at the end of fate,men and women often regret and disperse for some reason. This matter is like the end of a song and the separation of people,which is sad.All kinds of“love fate”narration in the author’s works are the poetic projection of the figure and illusion of his own life,which not only projects the author’s feelings about the human love and his own love,but also projects the life belief that “fate has ended but the love is still there”. The narrative of“love”in the Strange Tales of a Lonely Studio,which is both emotional and legendary,mostly follows the creative poetry of“complaining but not angry”and“mourning but not hurting”,and takes the sad beauty as the aesthetic style.更多还原