研究南戲的前輩學者，異口同聲主張大約南宋末或元初，或元中葉北曲雜劇南下時，戲文大概已經流傳至大都，並有演出、編撰和大都隆福寺刻本。主此說者皆根據清張大復《寒山堂曲譜．總目》著錄：「《金銀貓李寶閒花記》大都鄧聚德著。業卜，字先覺，尚有《三十六瑣骨戲文》。隆福寺刻本。」這個推測起自錢南揚先生 (1899~1987) 於一九八一年問世的《戲文概論》，三十年來無人置疑，影響深遠。 本文先從宋元戲文流播浙、閩、吳、贛地區切入，以示其文獻斑斑可考，卻無文獻證明戲文流播大都。其次論述元代戲文之盛況，北劇南戲交會以及戲文編撰重心皆在杭州，戲文大量創作在元代晚期天曆、至正年間 (1328~1368)，可知戲文難以在南宋末或元初流傳大都，並有演出。再從現存可考里居北方之戲文作家，闡述鄧聚德雖里居大都，但不足以證明戲文流播大都；又考察北京隆福寺建成於明代，鄧聚德戲文是明代隆福寺刊本。檢視《青樓集》著錄，唯有一則記載專攻南戲的女伶是浙江婺州人，目前未見大都演出戲文的表演史料。以上論證錢南揚先生之推測「理據」不足，期能彰顯積極性的學術平議。

Scholars, who specialize in the Southern drama, xiwen, all agree with that the Southern drama had circulated around Dadu (Khanbaliq) during the end of the Southern Song (1127-1149) and the early Yuan dynasty (1206-1370), or when the Northern drama was distributed to the South in the middle of the Yuan. Moreover, the agreement elaborates that the Longfu si edition of the Southern drama was even performed and edited in Dadu. This statement is based on the quotation “Jinshu yingmao Li Bao xianhua ji, written by Deng Jüde in Dadu, whose occupation is a diviner and whose courtesy name is Xianjue. He is also the author of the Longfu si edition of Sanshiliu suogu xiwen” in Hanshantang qüpu ‘zongmu’ by Zhang Dafu (1554-1630) of the Qing. The speculation came from the book Xiwen gailun written in 1981 by Qian Nanyang (1899-1987). In the past thirty years, no one doubted of the influential statement. This paper starts from the circulation of Song-Yuan Southern drama in the areas of Zhejiang, Fujian, Jiangsu, and Jiangxi. According to the documents and records, we, first, cannot find evidences to prove that Ming xiwen was circulated in Dadu. Next, the paper discusses how the Southern drama developed in the Yuan dynasty and how the Northern and Southern drama interacted. Through the discussion, we discover that the editing of the Southern drama mostly was in Hangzhou, and most of xiwen works were created in the late Yuan, from Tianli to Zhizheng periods (1328-1368). Therefore, the evidences show us that the Southern drama could be hardly circulated in Dadu in the Southern Song or the early Yuan. In addition, the description from northern authors, whose works are able to be traced back reliably, displays that Deng Jüde’s residence in Dadu is unable to prove that the Southern drama was circulated in Dadu, let alone that Deng’s work was called Longfu si edition, and the building, Longfu si, was established in the Ming. There is only one piece in Qinglou ji that recorded that female Southern drama specialists were the locals of Zhejiang Wuzhou, and presently there is no performing materials of Dadu in this collection. Based on the investigation on materials, this paper expects to make comments on Qian’s deficient in offering the “evidences” for the circulation of the Song-Yuan Southern drama in Dadu.