《聊斋志异》的题材,不外乎鬼狐仙怪,畸人异行,但又做到了“每篇各具局面,排场不一”(《读聊斋杂说》),绝不雷同、重复;篇幅一般都是比较短小的,却又能以咫尺之幅,而尽龙腾虎跃之势,不给人一览无余之感。这种艺术效果的产生,固然源于内容的丰富多彩,但也与作者巧妙地组织安排作品的情节结构大有关系。对此,清代人的评点已屡有涉及。他们虽然多是在作品的某些局部冥会幽探,往往不能放眼于作品与形象的整体,而许多见解诚如他们自许的那样是“皆从书缝中看出”(《读聊斋杂说》),深得作者构思运笔之妙。本文即结合他们的评点,探索《聊斋志异》情节结构的艺术技巧。 The theme of “Strange Tales from a Lonely Studio” is nothing more than a ghost fox, a stranger alien, but also achieves a “different situation” Generally are relatively short, but they can close the banner, and make the best of the best, do not give a glance. This artistic effect, of course, originates from the rich and varied content, but also greatly influences the plot structure of the artist’s skillfully arranged work. In this regard, Qing commentaries have repeatedly involved. Although they mostly engage in some local in-depth exploration of the work, they often can not look at the whole of the work and the image, and many opinions, as they argue, are “all seen in the book” (“ ”), Won the author idea of ​​writing wonderful. This article, combining their comments, explores the artistic skills of the plot structure of Strange Stories in a Lonely Studio.