一直以来,在对近松的戏剧创作方法进行研究时,穗积以贯著作《难波土产》(1738年)中标题为〈发端〉部分的虚实难辨论作为其重要资料而备受关注。但大部分学说是围绕虚实难辨论本身展开的,对其艺术主张的理解和研究易流于抽象化。本文以近松作品中较有代表性的《殉情曾根崎》和《殉情天网岛》为例,运用从抽象到具体的演绎法,试探讨近松的虚实难辨论,以便学习和理解近松的戏剧艺术。 In the course of his study of the near-slang drama creation method, it has always been the subject of much attention that it is an important piece of information that he has always been entitled as an argument about the origin of something in the Nambu native (1738). However, most of the theories revolve around the theory of real and imaginary reality itself, and the understanding and research on its artistic ideas are easy to abstract. This paper takes the more representative works of “Zeng Gen Zang Gen Xizang” and “Martial Love Landnet Island” in the recent works as an example. By applying the deductive method from abstraction to concrete, .