本文從（一）北曲《西廂記》的演唱與傳播，（二）散曲的寫作，（三）雜劇《紅線女》的刊印，（四）傳奇《三生傳》的創作，（五）對《白練裙》、《紫簫記》等劇作的啓發等方面，勾勒了秦淮名妓馬湘蘭在明代後期曲壇上的多元表現。她從北曲跨越到南曲，從演唱、教學到進行創作，由樂伎／優伶變成散曲家與女性作劇的先行者。並且，她曾出資為梁辰魚刊印其雜劇，她的情俠形象也可能對湯顯祖的女性角色創造有所啓發。從她本身的作為以及文人對她的描繪，足以見證出明代後期名妓在文化藝術場域上所扮演的傳播、推動與創造者角色。

This paper delineates the active and multiple roles the courtesan Ma Xianglan (1548-1604) played in the music drama world of the late Ming. First, she taught and spread the music and performance of the northern zaju drama Western Wing. Secondly, she wrote sanqu (free-standing arias), and it was she who asked Liang Chenyu to compose the original aria "Jiuyi shan," which contributed to the development of kunqu. Thirdly, she helped Liang print his zaju play, Lady Red Thread. Fourthly, she created her own chuanqi play The Biography of Three Lives. Last but not least, her image as a female knighterrant devoted to love probably inspired Tang Xianzu's creation of such female characters as Bao Siniang and Huo Xiaoyu when he began his dramatist career.