有關戲曲科諢之命題，歷來提及之論文甚少，八十七年十月筆者於《復興劇藝學刊》第二十五期發表〈淺論中國古典戲曲科諢之淵源及演進〉一文，後覺其不足，故撰本文加以擴大補充。本文共分前言、中論、結語三大部分。其中「中論」又分為三部分，是本文之主體。此三部分為：一、科諢之名稱：對「科」與「諢」二字做探本溯源之探求；二、科諢之淵源及承傳：從民間系統、宮廷系統及二者結合後之情形，來探討科諢之淵源及承傳；三、科諢之演變：科諢承傳至元，尚能秉持謔而不虐之特色，至明清則淪入淫詞邪語之惡道中，本文則探討其原因，歸納為(一)程朱理學之反動，(二)民間俗曲之影響，至清代則稍有收斂，然亦不能免俗，地方花部戲仍淫辭充斥。最後為結語，將全文結論做一歸納性整理，以達提綱挈領之效。

　　　　　The approach dealing with the Ke (stylized movements which made audience laugh) - Hun (jests) of Xiqu(His-ch’u)has seldom been found in the previous articles referring to Chinese drama. Basing on an essay, presented by author in Fu Hsing Chu I Hsueh K'an (復興劇藝學刊) Vol.25 in Oct. 1988, that focused on the origin and evolution of the Ke - Hun in Chinese classical Xiqu, this paper recruits more extended and deeper views about these two performance skills in Chinese drama. There are three parts of it : the introduction part explains the reasons why the author writes this article and the importance of this topic .the first paragraph of the main body part depicts the history of denomination of Ke- Hun ; and then discusses the origin and heritage of Ke- Hun within three fields : the popular system , the court system and the time when these two systems merged; the author also submits here the reasons that Ke-Hun evolved from refined banter to erotic and vulgar jokes especially in Ming-Qing periods were (1)counter-revolution to Cheng-Zhu li-xue (2)the influence of folk songs ; we can see that even in Qing Dynasty some regional drama was still rife with obscene expressions. The final part outlines all the conclusions for the readers to get more clear conceptions about Ke - Hun and their roots and branches.