《三國演義》自成書以來在社會廣泛流傳，可以毫不誇張地說中國各地區的說唱文學皆曾受到它的影響。彈詞是吳方言地區說唱文學的代表，而三國之一的孫吳政權又在吳地。因此，彈詞存在改編小說《三國演義》的作品，是不會讓人感到意外的。本文根據清乾隆年間抄本長篇彈詞《三國志玉璽傳》為研究對象，嘗試從文本中的內容和文字入手，考證該書比較接近於明末黃正甫刊本的系統，並且還參考了明代的昆曲《連環記》。至於在彈詞《三國志玉璽傳》的成書時間方面，考證定為明末時期。理由有二：一是《玉璽傳》與明末黃正甫本《三國演義》系統比較接近；二是《玉璽傳》中有文字記述了「觀音舞」。「觀音舞」在明萬曆中後期（1604年）便逐漸不流行於社會，目前清人文獻幾乎未見相關文字記載，偏偏彈詞《玉璽傳》在此處的文字描述頗為細緻，因此，不排除編撰者很有可能在明季亦曾親睹此舞。根據以上的論點，本文贊成童萬周《三國志玉璽傳》成書於明季的推論。

The novel San Guo Yan Yi (Romance of the Three Kingdoms) has had a wide popularity ever since its completion, leaving influence on the various forms of Chinese popular literature. It is not surprised to find transcriptions of the legend in Tanci, the representative chantefable art of the Wu-Speaking Region, where had been the old realm of the Wu of the Three Kingdoms. This essay is to study San Guo Zhi Yu Xi Zhuan (The Jade-Seal Legend of the Three Kingdoms), a long manuscript of Tanci Chantefable from the Qianlong Era of the Qing. It is found to have close relation to the Huang Zheng-fu Print of San Guo Yan Yi, with referencing of Lian Huan Ji, the Kunqu Opera. The composition is dated to the Late-Ming based on two reasons: 1) its close relation to the Huang Zheng-fu Print; and 2) the vivid depiction of Avalokiteśvara Dance, which was no longer popular since the Mid-to-Late Wanli Era of the Ming (1604).