通過分析賈仲明增補《録鬼簿》“凌波仙”散曲挽詞，本文旨在研究散曲如何對文學創作隱含的社會契約引起變化，尤其文本如何成爲作者概念與社會身份之間互相協調的結果。長期以來，學界把賈仲明增補的挽詞當做研究劇作家個人生平的可靠信息來源，本文對這一做法提出質疑，認爲這些挽詞整體來看其實寫的是賈仲明爲劇作家社會角色建構出的一系列人格。作家概念在高雅文學體裁中佔據中心地位，可在賈仲明的散曲挽詞裏，雖然一個個都標注好了關漢卿、王實甫等姓名，卻降格爲面目模糊並且可以輕易替换的人體模型。賈仲明這麽做的目的，是爲了凸顯在他的視角下設計出的劇作家社會角色。他構建出的劇作家角色既帶有都市商業劇場的痕跡，也反映了國家和精英價值的影響。因此，本文認爲，賈仲明增補散曲挽詞的真正價值，在於幫助我們更好地了解他所處的時代背景下劇作家的生存狀况。此外，恰當地解讀賈仲明挽詞，也有助於我們進一步理解散曲文體的表演性。

This paper investigates the issue of how sanqu composition modifies the social contract of poetic composition in how a text mediated between authorship and social identity through a close analysis of Jia Zhongming’s 賈仲明 (fl.1343 1422)sanqu songs written in the supplement to The Register of Ghosts (Lu gui bu 録鬼簿). This paper challenges the conventional reading of Jia’s songs as reliable sources of biographical information on individual playwright to whom those songs are dedicated. It argues instead that they, if read together as a whole, represent a catalogue of various personae Jia constructs for the social role of playwright. The authorial figure that has played a central role in more polite poetic genres is reduced into a faceless and easily replaceable mannequin with a name-tag on it—be it Guan Hanqing, Wang Shifu, or any other name—in Jia’s sanqu songs, only to foreground the costume of the playwright’s social role from his particular perspective. The role Jia Zhongming constructs for playwright displays imprints of urban commercial theater as well as influence of the state and elite values. Therefore, the true value of Jia’s songs lies in that they help us better understand the condition of playwrights in Jia’s time. Moreover, a proper interpretation of Jia’s songs also helps us better understand the performativeness of sanqu as a genre.