源自於唐代佛教俗講的寶卷，在漫長的發展過程中，至清末，為民間寶卷的全盛時期，它是世俗民眾信仰、教化、娛樂下的文化產物。白蛇傳故事衍白蛇/白娘子/白素貞與許宣/許仙/許漢文之間蛇妖與人愛戀糾葛的故事，身為民間四大傳說故事之一的白蛇傳，也為宣講寶卷的藝人所吸納，接受了清末以前白蛇傳故事的發展型態，進行其傳道與勸化的目的。寶卷與鼓詞、彈詞等雖同為俗文學，同為書場曲藝，但性質上有所不同，帶著無法褪去的宗教基因，在成熟期的故事基礎上，寶卷藝人究竟如何以白蛇傳故事行其傳道、勸化與娛樂的目的？本文將以傳播學及行銷與接受美學的理論觀點，探究在俗文學的市場上，同為書場曲藝的寶卷，區隔於鼓詞、彈詞等臨場即興表演變數大而相對穩定性低的曲藝，為遂其傳播與行銷使命、目的，不同的脈絡與主題策略下各異的文本特色與角色模塑。

Baojuan was origined from Sujiang in Tang Dynasty. In the long process of development, Baojuan became the cultural product of religion, teaching and entertaining in late Qing Dynasty, the heyday of Baojuan. The story of White Snake tells about the love and hate between the monster, Madam White, and the human, Xu Xian. The story of Madam White Snake is one of the four great tales in China; therefore, it was also received by the artist of Baojuan tellers. The tellers accepted the story of Madam White Snake, and used it to urge people to do good. Just like Guci and Tanci, Baojuan is also a branch of folk literature and oral art. However, it still contains its religious gene. How would the storytellers of Baojuan use the story of Madam White Snake to urge people to do good? This article integrates aesthetics, distribution and broadcasting science and includes aesthetics to explore how Baojuan is different from Guci and Tanci, which is spot improvisation, variable large, and relatively low stability. Even they all belongs to the folk literature and oral art in storytellers’ house (Shuchang). What are the different preaching strategies in order to fulfill the its mission and purpose of broadcasting? And what are the different context connotation and character formation resulted from the different preaching strategies?