馮夢龍〈賣油郎獨占花魁〉描述賣油郎秦重獨占花魁莘瑤琴，故事以愛情為主軸，一反才子佳人敘述模式，內容貼近百姓生活，成為民間文學改編對象。向來被認為改編最完整的莫過於李玉《占花魁》傳奇，李玉不僅單純敘述秦、莘二人之情愛，更承載著李玉自身對於國家之情感。本文擬從敘事學觀點，佐以八個同名文本，包括明代「擬話本」馮夢龍《醒世恆言》〈賣油郎獨占花魁〉、「清傳奇」李玉《占花魁》、閩南「歌仔冊」《花魁女全歌》、福州評話《賣油郎》，以及滿族「子弟書」《賣油郎獨占花魁》、鼓詞《占花魁》、??戲《花魁從良》、上崑《占花魁》等進行研究，期望透過敘事角度之較析，全面探討「占花魁」同名故事，因不同文體所造成敘事手法與核心重點之轉化，以了解不同地域所產生之改編美學策略。 Meng-Long Feng’s “The Oil Vendor Wins a Pretty Bride” depicts that an oil vendor Qin Zhong won the most famous beauty Xin Yaoqin. The story is based on love and it is different from the narration of gifted scholars and beautiful ladies and the content refers to the folks’ lives and it is thus commonly adapted by folk literature. Generally speaking, the most complete adaption is Yu Lee’s Chuan Qi “Zhanhuakui”. Yu Lee not only described the love between Qin and Xin, but also expressed his affection to the country. This study adopts the perspective of narratology and comparative texts of 8 folk literatures of the same story, including “imitations” of Ming dynasty, Meng-Long Feng’s Stories to Awaken the World “The Oil Vendor Wins a Pretty Bride”, “Chuan Qi of Qing dynasty” Yu Lee’s “Zhanhuakui”, The Whole Song of the Most Famous Beauty of “Ge Zai Ce” of Minnan, Fuzhou criticism The Oil Vendor, “Zi Di Shu” of the Man The Oil Vendor Wins a Pretty Bride, drum Ci “Zhanhuakui”, puppet show The Most Famous Beauty Get Married and the “Zhanhuakui” of Shanghai Kunqu Opera Troupe. Through the narrative perspective, it aims to recognize the adaption characteristic of “Fighting for Beauty” of Shanghai Kunqu Opera Troupe and thoroughly explore the change of narrative technique and key points of “Fighting for Beauty” because of different genres in order to acquire adaption aesthetics from different regions.
