|Abstract: ||本文陳述《臺灣日日新報》若干作品的作者可能為何人？透過〈丹麥太子〉、〈稜鏡〉、〈玉蟾〉三篇作品對《吟邊燕語》亦步亦趨的改寫，論證觀潮與少潮宜是同一位作者。少潮、耐儂則為李漢如其人，署名少潮之作刊於1906 年，耐儂之作為1910 年，因時隔三年多，耐儂〈翠微〉、〈魔妻〉、〈小紫〉、〈神女〉四篇可謂三年磨劍有成，不僅題材特殊，且有兩篇為中國報刊雜誌轉載。「儀」與「拾遺」則可能為王韜其人，耐儂之作在1910 年已相當成熟，而「儀」尚多沿襲王韜之作，轉化不多。此外，由台灣文人自《醉茶志怪》、《吟邊燕語》、《花國劇談》、《聊齋誌異》等等文言小說的轉載改寫，足見從借鑒到創新的文學衍化，在在是推進台灣小說發展史上的一種能源，也唯有確認作品來源，方能相應做出較正確的文本詮釋。|
The main concern of this article is to find out the identity of the authors of several novels published in taiwan ri ri xin bao, who adopted different pseudo names at different times. For example, “Prince of Denmark”, “leng jing” and “yu chan” are all works which are adapted fromy in bian yan yu. Judging from the styles of writing, it is argued that their alleged authors guan chao and shao chao should indeed be the same person – Li Han-ru. It is also observed that he used the name nai nong in his 1910 works (“Cuiwei”, “devil’s wife”, “xiao zi” and “shen nu”), which are more mature and creative such that two of them are reprinted in some magazines in Mainland China. Other examples contain the case of Wang Tao, who used names such as yi and shi yi at different times. Indeed, Taiwanese writers in general, at that time, adapted many Chinese classic novels such as zui cha zhi guai, yin bian yan yu, hua guo ju tan and Strange Stories from a Chinese Studio. It is therefore important to identify the authors and origins of these Taiwanese classic literary works, which gave strong thrusts to the development of Taiwanese literature from mere mimicry to genuine creation. In this way, adequate interpretations of these texts can be made possible.