「文化集體性」是文本改寫過程中最主要之變因，為符合地域文化之差異 性，作家有必要重新詮釋再創，縱使已傳承數百年之經典文本亦同。關於「鄭元 和/李亞仙」之故事，自〈一枝花〉話後，由唐人白行簡《李娃傳》定型，自此 相繼成為小說、戲劇等作家所取材，其中又以明傳奇之徐霖《繡襦記》為定本。 然而經過時空不斷地傳遞與流播，各地所改編之情節亦有所差異，尤其閩南語系 地區，因不同的文化氛圍，使得劇作產生地域性之變異。本文將從「鄭元和/李 亞仙」故事文化傳播之「地域性美學」為分析視角，以歌仔冊《鄭元和三嬌會全 歌》為研究對象，探討歌仔冊對「鄭元和/李亞仙」故事之接受與再生。

“Cultural collectivism” is the main cause of rewriting of this study. In order to conform to regional and cultural differences, authors are obliged to re-interpret and rewrite their works, even though these classical texts have been passed down for hundreds of years. For the story of “Zheng Yuanhe and Li Yasin,” after the “Yi Chi Hua (A flower)” was released, “LiWa Chuan” by Bai Xingjian in the Tang Dynasty set up the form, which was then used as materials by authors of novels and plays. Xiuruji by Xu Lin, a legendary scholar in the Ming Dynasty was used as the fixed version, However, with the changes of time and spread, the plots vary in various places, especially in the Minnan areas. The differences in cultural atmosphere led to the regional differences in plays. This study analyzed the cultural spread of story of “Zheng Yuanhe and Li Yasin” from the perspective of “regional aesthetics,” and used “Love story between Zheng Yuanhe and three women” as the research material to investigate the acceptance and rebirth of Zheng Yuanhe and Li Yasin” story caused by Kua-á-tsheh.