本文立論核心，爲探究李漁如何將同一故事，先以小說道出，再改編爲戲劇體裁、深掘其中的創作意義。爲了說明小說與戲曲在「觀看視角」上的異同，本文第一部份從「插圖」取徑，藉由解讀兩種文體的圖像配置，及其在人物、取景、題詩等內涵上的差別，尋覓笠翁「化舊爲新」、「另出機抒」的改編手眼。其次，觀察笠翁如何將「小說敘事」改爲「戲劇代言」藉轉化時空背景、文體套式、更新人物、橫生枝節，建構由曲、白、科交織而成的舞台表演。最後，則從「文本之外」的「序者」與「評者」之言，觀察讀者反應與作者苦心，進而理解潛於文本下的改編理念與幽微心志。

The main issue of this paper is to ask why and how Li Yu adapted his short story Tan Chuvu to his chunqi play Bimuvu. Firstly, it will analyze from two sets of "illustrations", one is for the story and the other for the play. From the differences of two illustrated styles and contents, the author's strategy in writing one story by two genres could be traced out. Secondly, the transformation from story-telling to role-playing shows that through revising time, place, plots, characters and conventions, the dramatic performance which is full of songs, dialogues, and actions could be built in the inner text and on the outer stage. Finally, it will display the words of some contemporary critics to interpret the underlying readers' responses, the authors intention, and the significance of this work of adaptation.