@　 蒙古人自吞金滅宋後，華夏民族的傳統地位與尊嚴，遭到嚴重的摧殘
。蒙古人與色目人佔盡政治與經濟體制上的優勢，權豪貴族、貪官污吏，
以及佛道僧侶，在弛緩的律令刑法，不公的賦稅與力役之下，驕寵跋扈，
恣意橫行，造成民間的冤屈事件，不勝枚舉。昔日高居農工商之上的漢族
文士，雖有吏進的管道，但視為正途的科舉，卻似蜀道艱難；而且即使有
官可做，也不易擠入權力核心，同時與蒙古、色目人的氣味不能相投，因
此每多抑鬱下僚。遭受層層剝削的元代老百姓，報冤類雜劇適足以宣洩心
靈的苦悶與不平之氣。在現存一百六十餘本的原雜劇中，報冤類劇居然有
四十八本的可觀數量，可見重報意識的報冤劇，實為元代戲曲的主流。 @
　 現存的元代報冤類雜劇，依其報冤手法可分為五大類型：１藉助於清
官賢吏的報冤，２藉助於冤魂神祗的報冤，３藉助於綠林好漢的報冤，４
藉助於忠臣烈士的報冤，５其他類型的報冤。為因應衝突情節的快速推進
與報冤懲兇的結局需求，有十七本報冤劇的情節結構是以高潮貫穿首尾；
能以疏緩開場，情節逐漸推向高潮的有二十二本，可見這一類情節的結構
是報冤劇作家所習用的。在腳色配置上，屬末本的有三十四本，旦本僅有
十四本。在人物塑造上，是以正反兩面相互映襯為主要的表現手法；正面
物大多能突顯其各自的性格特徵，而反面人物較偏向類型化；次要人物除
了予以類型化外，劇作家也偶而給予他們吐苦水的機會。在套曲組織方面
，第一折沒有五支曲牌以下的情形，第二折六至十支曲牌的，有二十九本
之多；第三折在十一支曲牌以上的有二十四本之多，至於第四折五支曲牌
以下的有十本，但這不完全代表草率收場。至於曲辭的特色，一是大量用
襯，二是寫實性與寫意性兼而有之，三是辭彙富於生活氣息。 @　 元代
報冤類雜劇蘊含著鮮明的時代色彩，劇作家不僅藉助於對前代忠臣烈士的
熱烈歌頌，無形中弘揚民族氣節；而且提供舞台的正義法庭，強烈批判霸
權階級；同時對現實社會的苦難人民，流露了悲天憫人的情懷；對傾頹的
倫理傳統，有如螳臂當車地力挽狂瀾；此外劇中紀錄下元代民間的信仰與
習俗，吉光片羽、彌足珍貴。 @　 民族家國的變遷，市井小民的苦難，
坎坷抑鬱的仕途，悲歡離合的遭遇，在在刺激元代報冤劇作家深邃的思辨
，他們的心靈因而更貼近百姓的心聲；於是稱元代報冤類雜劇為有元一代
文學的「靈魂」，應是可以肯定的。
Since Mongolian had annexed Chin Tribe and destroyed the
Yuan Dynasty , Cathay ''''s traditional position and dignity were
seriously humiliated . Mongolian and alien peoples completely
prevailed over others in political and economic systems . It
was really too numerous to recount how many grievance events
occurred among the people due to ranking officials,highlyplace
personalities , corrupt officials and Buddhist monks and nuns
who under relaxing and idle orders, regulations and penal law ,
in addition to unfair farm tax, excise taxes and laborer work ,
were proud , unruly , rampant in defiance of authoruty and very
acting willfully . Previously, althought there was specific way
to look for a official post for scholars of the Han people who
were usually superior to farmers , workers and merchants , the
civil service examination which was regarded as a proper course
like the roads in Szechuan was quite difficult . Besides , even
if there was a government for one , it was not easy to force
himself up onto a core of authority. In the meantime, they had
different tastes and temperature from Mongolian and alien
peoples'''' . Therefore , they were always despondent to be a
general staff . @　 The evolution change of a national
country , hardship of trades people as well as commonn perople,
unluckily and despond -ently politicas career , the sorrows of
parting and the joy of unions all stimulated these opera
writers , speculation in the Yuan Dynasty one by one . Their
mind therefore were further closing the common people''''s heart''''
s desire. This is why we call the grievance revenge opera in
the Yuan Dynasty " SOUL " of the literature in the Yuan Dynasty
. It should be affirmative .