随着文人在小说评点与小说创作方面的不断介入，中国古代小说发展至明清时期，其文体地位已有明显的提升，文人的思想情怀与审美趣味也已投射其中。以此，小说也与诗文一样成为了文人抒情写意的新载体，即所谓文人小说。从这一层面出发去重新探讨小说文本所传达出来的思想内涵，能够捕捉到文人小说所具有的不同于以往传统小说的独特表现力。本文选取清代前中期四部较为典型的小说《续金瓶梅》《水浒后传》《林兰香》及《歧路灯》为研究对象，力图以个案研究的方式对文人小说进行深入细致的研究。本文共分为五个部分。 绪论第一节主要是以时间为线索，对小说文体地位的提升作了大致的梳理。第二节主要梳理了相关研究者在文人小说研究方面的诸多成果，并在此基础上最终确立了笔者的文人小说概念范畴。第三节则确立了本文的具体研究对象，即清代前中期四部典型的文人小说，《续金瓶梅》《水浒后传》《林兰香》及《歧路灯》。 第一章以丁耀亢的《续金瓶梅》及陈忱的《水浒后传》为中心，对明清易代之际文人小说对现实世界的全面展示与反应展开了详细论述。第一节梳理了中国古代文学作品书写现实的优秀传统，除去诗文等传统文体，文人小说在明清时期也加入到这一阵营中来。第二节以《续金瓶梅》为例，丁耀亢在小说中通过对战乱的描写与表现，宣泄了个人的情感。他通过对小说人物情节的设置并结合其个人的人生经历，表现出对乱世儒家伦理道德秩序的认同与反思。他通过对故国党争问题的抨击与新朝藏传佛教文化中不合理成分的揭露，凸显出其对现实世界政治、文化、宗教的关注。第三节则主要展现了陈忱在《水浒后传》中对误国奸佞的愤恨及理想文人英雄的期待。 第二章以《林兰香》为例，展现了随缘下士对君主专制政治生态环境下文人生存环境的思考。第一节分析了《林兰香》中的象喻系统，以男女君臣之喻，指出了耿朗及其妻妾的关系，以香草之喻，指出了林云屏、燕梦卿、宣爱娘等人所代表的不同文人身份类型。第二节，从古代君权体制出发，指出了耿朗在身份地位上与古代君主的相似性，以及由此而生发出的，对欲望无穷无尽的追逐，对臣子无休无止的疑心。第三节指出了君权政治文化中文人的不同选择，对任香儿、平彩云等所隐喻的奸佞则予以批判，对林云屏、燕梦卿、宣爱娘、田春畹等所隐喻的忠良则着重褒扬。在此基础上，作者试图为文人寻找出一条既能践行儒家理想，又能全身远害的道路。 第三章以《歧路灯》为例，展示了李绿园对当时社会问题的揭露与反思及对建立良好社会秩序愿望的构想。第一节介绍了《歧路灯》的创作及其背景。第二节梳理了礼学复兴与《歧路灯》创作主旨的关系。第三节展现了《歧路灯》中所反应的社会秩序紊乱的诸多问题。第四节展现了李绿园重建社会秩序的思考。 结语部分梳理了文人小说创作动机与主题解读的关系，归纳总结了文人小说的研究路数与方法。

With the continuous participation of literati in the criticism and creation of novels, the stylistic status of ancient Chinese fiction has been significantly improved in the Ming and Qing Dynasties. At the same time, the literati's thoughts, feelings and aesthetic tastes have been projected into the novel. Therefore, like poetry and prose, fiction has become a new carrier for literati to express their feelings and aspirations, that is, the so-called literati fiction. From this point of view, to re-explore the ideological connotation conveyed by the novel text can capture the unique expressive force of the literati novel which is different from the traditional novel in the past. The paper chooses four typical novels in the early and middle Qing Dynasty, Xu Jin Ping Mei, Shui Hu Hou Zhuan, Lin Lan Xiang and Qi Lu Deng, as the research objects, hoping to make a thorough and meticulous study of literati fiction through case studies. The paper consists of five parts. The first section of the introduction mainly takes time as a clue to sort out the promotion of the stylistic status of the novel. The second section mainly combs many achievements of researchers in literary novel research, and on this basis establishes the concept of the author's literary novel. The third section establishes the specific research object of this paper, namely, four typical literati novels in the early and middle Qing Dynasty, Continuation of Xu Jin Ping Mei, Shui Hu Hou Zhuan, Lin Lan Xiang and Qi Lu Deng. Chapter one, centering on Xu Jin Ping Mei and Shui Hu Hou Zhuan, Ding Yaokang and Chen Chen elaborates on the comprehensive display and reaction of literati fiction to the real world during the Ming and Qing Dynasties. The first section combs the excellent tradition of writing reality in ancient Chinese literary works. In addition to traditional literary styles such as poetry, literati fiction also joined this camp in the Ming and Qing Dynasties. The second section takes Xu Jin Ping Mei as an example. Ding Yaokang expresses his personal feelings by describing the chaos of war in his novel. By setting up the plots of the characters in the novel and combining his personal life experience, he shows his recognition and reflection on the ethical and moral order of Confucianism in troubled times. Through criticizing the issue of party struggle in the old dynasty and exposing the unreasonable elements in Tibetan Buddhist culture in the new dynasty, he highlighted his concern for politics, culture and religion in the real world. The third section mainly shows Chen Chen Chen's resentment of misguided traitors and his expectation of ideal literati heroes in Shui Hu Hou Zhuan. The second chapter takes Lin Lan Xiang as an example to show Sui Yuan Xia Shi's thinking on the living environment of the people under the autocratic monarchy political ecological environment. The first section analyses the imagery system in Lin Lan Xiang, and points out the relationship between Geng Lang and his wives through the imagery of men and women as monarchs and ministers. At the same time, through the analogy of vanilla, it points out the different types of literati identity represented by Lin Yunping, Yan Mengqing and Xuan Ainiang. The second section, starting from the ancient monarchy system, points out the similarity between Geng Lang's status and the ancient monarch, as well as the endless pursuit of desire and the endless suspicion of his subjects. The third section points out the different choices of Chinese people in the political culture of monarchy, criticizes Ren Xianger, Ping Caiyun, and praises Lin Yunping, Yan Mengqing, Xuan Ainiang and Tian Chunwan. On this basis, the author tries to find a way for scholars to practice Confucian ideals without harming themselves. In the third chapter, Li Lvyuan exposed the social problems at that time through Qi Lu Deng, and showed his desire to establish a good social order. The first section introduces the creation and background of Qi Lu Deng.The second section combs the relationship between the revival of etiquette and the creative theme of Qi Lu Deng.The third section shows the social problems of disorder of social order reflected in Qi Lu Deng. The fourth section shows Li Lvyuan's thoughts on reconstructing social order. The concluding part combs the relationship between the motive of literati's novel creation and the interpretation of the theme, and summarizes the research approaches and methods of literati's novel.