渔是清初最好的拟话本作者之一,他继承了明末拟话本大家冯梦龙和凌濛初二人开拓的拟话本创作的优秀传统。表现在:李渔的《无声戏》模仿“三言”的体例,集中每两回小说从篇名、内容到结构均两两对应;从李渔笔下的人物、情节、主题往往可以找到“三言二拍”的影子;在小说理论上,他吸纳和融合冯、凌二人的思想,形成自己的创作理念。 Fishing was one of the best quasi-phonetic scriptures in the early Qing Dynasty. He inherited the fine tradition of quasi-script creation pioneered by fictionalists Feng Menglong and Ling Mengchu in the late Ming Dynasty. This is reflected in the following: Li Yu’s “silent drama” imitates the “three words” style, concentrating every two novels from the title, the content to the structure, and the twos andrews correspond to each other. From Li Yu’s characters, plots and themes, In the theory of novels, he absorbs and integrates the ideas of Feng and Ling and forms his own creative idea.