涉筆成趣──鏡花緣的仿擬及其修辭功能

Creating a Humorous Writing Style: An Analysis of Parody and Its Rhetorical Function in Flowers in the Mirror

《鏡花緣》是清代才學小說的典型，全書造語新奇、別具一格，兼具獨創性、知識性與趣味性。作者李汝珍抱持著「以文為戲」的寫作態度，巧妙地運用修辭手法改造自然口語，創造出偏離常規的語言表達形式；讀者在閱讀小說的過程中，除了掌握故事內容之外，更透過話語形式感受到解頤噴飯的趣味體驗。
為求釐清作者的寫作創意與讀者的趣味來源，本文站在「廣義修辭學」的立場，選擇以《鏡花緣》的「仿擬」修辭作為觀察焦點，強調「仿擬」不單只是文本的修飾技巧，更是作者與讀者之間相互交流的認知行為或思維方式，一方面描寫《鏡花緣》「仿擬」修辭的類型、用例與功能，一方面借用認知語言學的理論與方法，深入剖析「仿擬」生成與理解之認知機制，進而探索《鏡花緣》幽默詼諧風格形成的內在理據。

Flowers in the Mirror (Jinghua Yuan) is a prime example of the Caixue Novel, a genre of romance fiction from the Qing dynasty. The book is marked by its curiosity and originality, showcasing the author's wit and knowledge. Through the use of rhetorical devices, author Li Ruzhen playfully transforms natural colloquialism into imaginative and humorous expressions. As a result, readers not only appreciate the novel’s content but also enjoy a fun reading experience.
To explore the author's creative writing and the humor in Flowers in the Mirror, this study employs a general rhetorical perspective, focusing on parody as a key feature of the novel. The study argues that parody is not only a rhetorical technique but also a cognitive interaction or conceptualization between the author and the reader. It analyzes Flowers in the Mirror as a rhetorical genre parody, complete with its own form, function, and purpose. Additionally, the study applies cognitive linguistics theory and methods to examine how parody is constructed and understood, revealing its inner logic and humorous style.