本文以《李漁同類型小說與戲曲比較研究》為題；以李漁所著四篇小說改寫戲曲為研究對象。希望透過文本的分析比較能得知李漁繁多小說中何以將此四則小說改寫為戲。而戲曲小說本常互相改寫，而李漁在將其小說改寫為戲劇時是否依據其《閒情偶寄》中所著之戲劇理論，若不全然如此，則又是受到怎樣的影響？ 本論文即以此為研究目標，除第一章中將先將前人研究做一整理與回顧外，各章節中將分別討論《無聲戲》與《十二樓》中〈醜郎君怕嬌偏得豔〉、〈寡婦設贅新郎眾美齊心奪才子〉、〈譚楚玉戲里傳情劉藐姑曲終死節〉、〈生我樓〉四部小說以及《笠翁傳奇十種》中的《奈何天》、《凰求鳳》《比目魚》《巧團圓》四本戲曲，並以故事劇情中的角色與劇情之增減差異為關注焦點，並於結論中以李漁自身的戲劇理論作一檢視，以歸納出李漁將小說改編為戲曲時的考量點。 並於本論文最後章節中探討李漁改編小說戲曲時的真正原因以及關注的焦點並做出結論。; The article is entitled “The Comparative Research on Li Yu's Novels and Plays of Similar Types”. I do the research on the four of Li's novels which were adapted for the plays. Though my analysis of the literary works, I hope to learn why he adapted the four from all his novels. It is common that novels and plays are adapted. I wonder whether the novels Li adapted for the plays were based on the dramatic theory of his work “Xian Qing Ou Ji”. If not, what were the influences? The above-mentioned statement is the topic of my research. I will review and organize the precedent researches in Chapter One. In the subsequent chapters, I will also discuss the four novels, “Chou Lang Jun Pa Jiao Pian De Yan”, “Gua Fu She Zhui Xin Lang Zhong Mei Qi Xin Duo Cai Z”, “Tan Chu Yu Xi Li Chuan Qing Liu Miao Gu Qu Zhong S Jie”, and“Sheng Wo Lou” in the books “Wu Sheng Xi” and “Sh Er Lou”. Simultaneously, I will explore the four plays “Nai He Tian”, “Feng Qiu Huang”, “Bi Mu Yu”, and “Qiao Tuan Yuan” in the book, “Li Weng Chuan Qi Sh Zhong”. I focus on the characters and the differences of the quantity in the plots as well. I'm going to survey the theory of Li's own in my conclusion. That way, I can generalize Li's consideration for his adaptions. I will sum up the real reasons and focus of Li's adaptions and establish my inferences in the last chapter.
