《倒鴛鴦》，又名《鬧鴛鴦》，全劇共二卷三十八齣。作者朱寄林身處明末清初，寫男主角花鏡、女主角水素月，因明兵打劫、清兵南渡，為有利於逃難，決定互換身分與性別，展開冒險旅程。明清戲曲情節同時牽涉女扮男裝與男扮女裝者，共有十四部傳奇作品，《倒鴛鴦》是唯一一部在知道劇作家身分與創作時代的前提下，故事齣目最多、情節架構最完整的作品。《倒鴛鴦》的扮裝動機是從角色心理開始鋪敘，花鏡多愁善感、膽小消極，面對明朝將亡的危及時刻，仍然賞花玩月，毫無反清復明的愛國情操；水素月獨立自主、臨危不亂，一反傳統女性的被動膽怯，儘管孤身漂泊在外卻能堅毅不拔。故事情節的「避難」成為導火線，刺激二人以異性裝扮示眾，可知朱寄林企圖從角色心理著手，以人物性格的顛倒作為伏筆，再以裝扮互異作情節鋪陳。本文欲以「角色心理」為主，先從文本分別歸納男、女主角的人物性格，並以榮格的「阿尼瑪」與「阿尼姆」原型理論為輔，探討二人在潛意識之下的異性扮裝原因。盼能得悉作者如何利用角色心理意識的流動以塑造人物性格、埋下兩性扮裝情節的伏筆、影響劇情脈絡的發展。

Dao Yuan Yang’s author Zhu, Ji-Lin, who is in Late Ming and early Qing Dynasty, writing a story about male and female leading characters deciding to change their disguise in order to asylum. According to Gu Ben Shi Chiu Jiu Mu ti Yau, Dao Yuan Yang is the only one that can be recognized the author and creation-time, with longest story and the most complete structure. The motivation of sexual disguise is about psychology, male leading character is sentimental and negative; female leading character is independent and positive. The author use contrary personality to write the story makes them to change the disguise. The article has focused on the character’s psychology, analyzing their personality and disguise reasons with psychological theories. In order to know how the author use psychology to shape the characters, carry the foreshadowing of sexual disguise and influence the plot development.