清代在戲曲理論方面之發展，無論在數量或內涵上都遠超過元明二代，除專門著作而外，尚有劇本、劇論中之序跋、評點、題詠、小引、凡例、贈言、總評等等另類批評形式之產生，觀此可知戲曲藝術在清代所產生之變化。 有關清代戲曲理論專門著作之研究，前人所作已成果斐然，為唯獨序跋部分之探討付之闕如，而此部分在清代戲曲理論中佔有不能忽略之重要地位，故本人擬於1984年博士論文《清代曲論研究》之後，再鼓餘勇，對清代序跋部分之曲論做深入探討，一方面可補充當年之不足，另一方面可因目前之探討，對清代曲論做更完滿之呈現。 就清人戲曲序跋之內容而言，範圍十分廣泛，有涉及曲論曲律者，有探討版本目錄校勘者，有批評曲選曲譜之選文標準者，有論曲家之地位及品評劇作高下者，有敘述戲曲史觀者，五花八門、不一而足。本文欲就曲論曲律之序跋為範圍，將其內容分為：一、曲論曲律之範疇，二、曲論曲律之內涵，三、版本目錄校堪，四、曲譜之風格論，五、曲家、曲論、曲律之批評論等五類；並比較其優劣，說明其影響、價值，進而闡發清代曲論家在此方面之貢獻。

　　　　　The development of drama theory in Qing Dynasty is superior to that of Yuan and Ming Dynasty both on quantity and quality. Except for the approaches specialized on drama theory, there are other forms of criticisms such as Xu-ba（or hiu-pa; a preface and postscript）, Ping-dian（criticism）, Ti-yong（chant）, Xiao-yin（an introductory note）, Fan-li（notes on the use of the book）, Zeng-yan（words of advice or encouragement given to a friend） and Zong-pin（overall appraisal） of the scripts or drama theories. From all these, we can know the changes of the art of Xi-qu (drama) in Qing Dynasty. There are blossom of researches about the articles of drama theory in Qing Dynasty except the Xu-pa, which is the one of the most important parts of the drama theory in Qing Dynasty. Owing to this reason and my intention to recruit my doctoral dissertation: "A Study on Drama Theory in Qing Dynasty" in 1988, I go deep into Xu-ba part of drama theory hoping that this might have completed my research on Qing Dynasty's drama theory. The contents of the Xu-ba of Qing Dynasty's drama theory is an extensive scope, there are topics involving Qu-lun and Qu-liu, topics conferring the proofreading of the editions and catalogs, topics criticizing the norms of the selections of the Qu-xuan and Qu-pu（the musical form of Qu）, topics discussing the statuses of the dramatists, topics judging whether the play is superior or inferior, topics accounting the historical point of view of drama. This essay foucus on the Xu-ba of the Qu-lun and Qu-liu and divided into five parts: 1. the category of the Qu-lun and Qu-liu. 2. the inclusion of the Qu-lun and Qu-liu. 3. the proofreading of the editions and catalogs. 4. the styles of the Qu-pu. 5. the criticism about the dramatist, Qu-lun and Qu-liu. Also this paper is about to compare the good and bad between the Xu-ba of the Qu-lun and Qu-liu, to interpret its influence and to elucidate its value on drama theory. And from these theses we can discuss the creative viewpoints of the drama critics in Qing Dynasty.