本文由抒情精神本體意義的延展，作為論述的切入點，探討戲曲抒情寫意的美學特質。由此認為「抒情」的概念雖源於西方對「抒情詩」這種文類的探討，但早在先秦時期，中國文化的根源就已有自成體系的抒情系統，復受到儒家「抒情言志」、道家「物我合一」思想的匯流，造成上通天地、下達人情、永垂不朽、圓滿自足的抒情精神。這種精神除了體現在文學、音樂、書法、繪畫等藝術門類之中，也滲透到古典戲曲，與戲曲象徵、虛擬的寫意特質涵融會通，形成戲曲通盤全然的主體關照、化剎那為永恆的情緒抒發、靈動圓融的精神境界。這是戲曲獨特的美學特質，更可見出中國抒情傳統深廣地浸潤各個藝術層面，而展現了自身高度的發揮與延展。

The dissertrating nucleus discussing the trait fo aesthetics in Chinese traditional opera extends from the defination of lyric spirit in the dissertation. The concept “lyric” comes from the Occidential's congress of lyric poems, however, there was an unigue lyric system among China culture base during the Pre-Qin Dynasty. Further, it cooperated with the idea of the Confucian's “affectivity effusing, Bambition speaking” and the Taoist's “making contact with the world”, so that bore a particular lyric spirit where one could give oneself up to God, join to other, be everlasting and be delighted. In addition to appearing among the arts like literature, Bmusic, Bpainting and calligraphy, the lyric spirit also penetrates into Chinese Traditional Opera and blends the figurative and subjunctive creation trait of drama so that makes consummately cognize oneself, Beffuse affectivity by converting instant to internity and wonderful mind. This lyric spirit is Chinese Traditional Opera's characteristic aesthetics trait which tells us the truth that Chinese lyric tradition infiltrates through all planes of art deeply and widly, thus amplifies and extends its altitnde.