, one of the Four Classic Novels of Chinese literature, has created many classic images. Pan Jinlian, a female image built to contrast the hero image of Wu Song, has been so popular in Chinese literature since all these years. Lan Ling Xiao Xiao Sheng used Pan Jinlian’s story as a basic line and expand the story into a well-known novel named . From then on, Pan Jinlian was seen as a prostitute and shame. After and , authors of later generations launched many rewriting creations based on the image and basic plots of Pan Jinlian. itself is a famous traditional novel and tells about the time and society. From the rewritings of latter times, we can capture the differences since then. Character images are the creation of different times. In the rewriting of the story of Pan Jinlian, there are quite a few writers that treated her as a tragic figure and give great sympathy and compassion for her destruction. O Yang Yu Qian’s modern drama < Pan Jinlian >, Wei Minglun’s Sichuan opera < Pan Jinlian >, Li Bihua's novel < Pan Jinlian’s Past and Present Life >, are the most famous and representative ones. They were created in different times and have different way of displaying. On the processing of the image of Pan Jinlian, these works use different forms of tragedy. O Yang Yu Qian uses the technique of character tragedy, Wei Minglun use the technique of society tragedy, Li Bihua uses the technique of destiny tragedy, three kinds of methods agree with three forms of tragedy. This paper tries to analyze different forms of tragedy in the three works and analyze the social and historical factors in the impact and internal function of creation, thus discuss the rebuilding of Pan Jillian's tragic image of different times and try to find the most fitful type of tragedy of Pan Jinlian.

中國四大名著之一的《水浒傳》塑造了很多經典形象並廣爲流傳。其中，爲烘 托武松的英雄形象而刻畫出來的女性形象——潘金蓮更是百年來經久不衰，被不斷 書寫。蘭陵笑笑生以此爲切入點，將潘金蓮相關的故事情節加以擴充，著成著名的 世情小說《金瓶梅》，潘金蓮在書中被塑造成千古淫婦的形象。 《水浒傳》、《金瓶梅》以後，後世作家以潘金蓮形象及其情節爲基礎，展開了 諸多重寫型創作。《金瓶梅》本身即爲著名的世情小說，從此延伸出來的以“潘金 蓮”形象為基礎的重寫作品中，我們又能窺得“世情”的改變，人物形象是時代的 創造，所謂“文變染乎世情”。而在曆代潘金蓮故事的重寫中，有相當一部份作家 將其處理為悲劇人物，對她的毀滅抱有同情和憐憫的態度。其中歐陽予倩的話劇 《潘金蓮》、魏明倫的荒誕川劇《潘金蓮》、李碧華的小說《潘金蓮之前世今生》 最爲著名且最具有代表性，幾部作品創作于不同時代，有其不同的展現和解構方式， 在潘金蓮的人物處理上，採用不同的悲劇形態，歐陽予倩採用性格悲劇的手法，魏 明倫採用社會悲劇的手法，李碧華採用命運悲劇的手法，三種手法契合三種悲劇形 態。本文試分析三部作品中潘金蓮的悲劇形象，並分析社會歷史因素在創作中的深 刻影響和內在作用，以此討論潘金蓮悲劇形象的時代性構造，探討最契合潘金蓮形 象的悲劇形態。