魯迅（1881-1936）和張天翼（1906-1985）是中國現代文學其中兩位最重要的諷刺作家。過往研究多從批判寫實主義的角度強調兩人在諷刺小說上的繼承關係，較少注意他們筆下諷刺以外的笑聲與寫實主義的互動關係。魯迅《故事新編》、張天翼《鬼土日記》和《洋涇濱奇俠》皆與一般諷刺小說在風格上有很大差別，值得關注。本文以「笑聲」概括喜劇觀念和作品中的喜劇性矛盾及話語，提出「諷刺／狂歡」分類方法以區別出兩人的喜劇風格及創作目的。本文通過整理他們的喜劇觀念，包括其文學淵源和相互關係，並圍繞喜劇性重讀上述小說，探討他們如何藉作品的笑聲面對和參與寫實主義。

Lu Xun (1881-1936) and Zhang Tianyi (1906-1985) are the most important two satirists in Chinese modern literature. Past research mostly emphasized their succession of satirical novels from the perspective of critical realism and rarely paid attention to the interaction between laughter and realism except for satire in their writing. Noticeably, Lu Xun’s Old Stories Retold and Zhang Tianyi’s Ghostland Diary and The Pidgin Warrior show significantly different styles from common satirical novels. This study refers “laughter” to comedic contradiction and language in comedic concept and work and proposes the classification “satire/revelry” to distinguish their comedic styles and creation purposes. By generalizing their comedic concepts, including literary origin and relationship and reviewing the previous novels, this study attempts to find how they cope with and participate in realism by laughter of the work.