从凌濛初和陆人龙同题材故事的小说创作中可以看出,二位作者在依据原素材进行改编时,有着较为一致的手法,即依照原素材进行敷演、增饰。在这一点,凌濛初并不比陆人龙做得更好。而且,在扩充故事、强化细节、摹绘人物上,陆人龙更胜一筹。陆人龙并不输在文学才能,其失乃在于他思想的正统、古板,在于他“型世”、“醒世”的创作目的。因此,在写孝子故事时,反而比凌濛初要略胜一筹;而一涉及爱情题材,思想便成了他的绊脚石,尽管文中不乏生动、细致的描绘,对人物的心理把握也很到位,但不得不输给颂扬真情、崇尚奇趣的作品。所以说,立意的高下乃文学的生命力所在。 It can be seen from the novels of Ling Mengchu and Lu Renlong with the same story that the two writers adopted a more consistent approach when making the adaptation based on the original material, that is, performing exercises and adding ornaments according to the original material. At this point, Ling Meng did not do better than the Dragon Man. Moreover, in expanding the story, to strengthen the details of the characters, Lu Renlong superior. Lu Renlong is not lost in literary talent, the loss lies in his orthodox, old-fashioned, lies in his “world ”, “awake ” creative purpose. Therefore, in writing the story of filial piety, but rather slightly better than Ling Meng; and one involves the subject matter of love, his thoughts have become a stumbling block, although the article is no lack of vivid, detailed portrayal of the psychological grasp of the characters are in place, Had to lose to tribute to the truth, admire the interesting work. Therefore, the conception of literary superiority is where the vitality.