民初學者王國維與錢鍾書分別以元雜劇為例，對中國戲曲持不同觀點立論，最主要在於中國戲曲構成的特殊性，使它對應西方「劇」的概念產生不同的看法。錢鍾書認為中國戲曲不能算是戲劇，只能單以「詩」的結構語言來立論。然而，本論文則認為雖然戲曲本質下詩與劇二者密不可分，但在明末時，已經能從抒情性尋求出敘事的方法。故，本文以明末孟稱舜戲曲評點與戲曲創作的發展線索來做觀察，從評點到創作過程中，尋求創作者思考模式，從中可看出，閱讀評點活動推動戲曲從曲論走向敘事文學理論的發展，這樣的模式本應可對戲劇人物的處理上更有自覺，進而延伸出情節表現。然，深入探究作品的實踐結果卻發現，明清之際戲曲家雖然已有意識到「人物塑造」與「情節推動」在戲曲文學的重要性，但因中國戲曲長久生成的「劇詩」特質，其表現模式已發展出由「抒情性」與「戲劇性」二者所取得戲劇平衡。因此，可知「詩」的特質已根深蒂固在戲曲構成中，故其表現有別於西方戲劇美學。 China Early Years,scholar Qian Zhongshu and Wang Guo - wei with different views on the Chinese opera argument. Most important, is that the particularity of Chinese opera form, it corresponds to the West ＂drama＂ concept generates different views. Qian Zhongshu that China can not be regarded opera theater, only a single with ＂poetic＂ language argument structure. However, this thesis is that although the drama is essentially inseparable under both poetry and drama, but in the end of Ming Dynasty, has been able to seek out the lyrical narrative approach. Therefore, this observation Ming Meng Chengshun both theatrical criticism and creation, from the commentaries to the creative process, to seek creative thinking. We can see that activities to promote reading commentaries drama, music theory from Narrative Theory Development. Such a model should be able to play this character's handling of the plot is more conscious and thus extends the performance. However, delve into practice only to find work, the Ming and Qing drama creators have realized that although ＂characterization＂ and ＂plot to promote＂ the importance of literature in the drama, but China has long generated opera ＂drama poetry.＂ qualities, its performance model has been developed by the ＂lyrical＂ and ＂dramatic＂ both made dramatic balance. Therefore, we know that ＂poetry＂ has been deeply rooted in the nature of the composition of Chinese opera. So its performance is different from the Western theater aesthetics.
