《西游记》中的神怪角色常以善于变化伪装著称,由于读者和各角色被赋予不同的语境权限和认知权限,伪装所引起的符号变化构成了小说中的戏剧反讽。本文综合了文艺美学、语言学和心理学来探讨戏剧反讽在《西游记》中的认知特征。读者已经了解了神怪角色的变化伪装,但特定角色对于这种符号变化却处于无知状态,因而读者,孙悟空,妖怪和唐僧被范畴化为戏剧反讽不可或缺的角色和必要条件。同时,由于各自的权限与特点,他们分别在戏剧反讽中以不同方式解读变化伪装所引起的符号转移,从而形成了丰富的意指世界。 Goblins in the Journey to the West are often masqueraded as gullible, and because the reader and each character are given different linguistic and cognitive powers, symbolic changes caused by camouflage constitute the dramatic irony of the novel. This article combines literary aesthetics, linguistics and psychology to explore the cognitive features of drama irony in the Journey to the West. The reader has become aware of the altered masquerading of the goblin character, but certain characters are ignorant of this sign change, so readers, the Monkey King, monsters, and monks are categorized as indispensable roles and conditions for dramatic irony. At the same time, due to their respective powers and characteristics, they respectively interpret the symbolic shift caused by the disguise of change in dramatic irony, thus forming a rich world of meanings.