本論文旨在對兩本同樣取材李娃故事而創作的元明雜劇進行深入之分析比較，一為元人石君寶的《曲江池》雜劇，一為明代藩王朱有燉的《曲江池》雜劇。朱有燉之劇作是有感於石君寶劇之「敘事不明」及對李娃「略無發揚其行操」，而重新創作，同屬雜劇體裁，亦可見元明雜劇之變化。 從情節之增減可知朱劇之改變有：1.增加金錢在劇情中的份量；2. 增加劉員外製造戲劇衝突；3.增加小說中的倒宅計；4.增加行乞而省略挽歌；5.增加考場情節； 6. 劇中增加插曲；7.增加六禮迎親封誥作結。從人物形象的變化可見：1.李亞仙從專情走向守志；2. 鄭元和從叛逆走向順從；3. 趙牛筋從忠實友人變成幫閑無賴；4.老鴇從貪錢愛財到更具機心。道德觀念的強化有： 1.孝義兩全的風教觀；2.戒除酒色財氣。不論在用曲數量或場上人物之增加、情節之變化、演唱方式之突破，朱有燉劇較繁複多變，元明雜劇之異亦由此可見。

This paper examines two Yuan-Ming anecdotes that are composed based on the identical story about Li Wa (李娃). One is the Qujiang pond (曲江池 ) composed by Yuan Dynasty Shi Jun Bao (石君寶); the other is the Qujiang Pond composed by Ming Dynasty Zhu You Dun (朱有燉). In view of the unclear delineation of the story and failure to emphasize on the virtues of Li Wa demonstrated in Shi Jun Bao’s Qujiang Pond, Zhu You Dun thus composed, albeit identical in genre, another Qujiang Pond, which is also evidence of gradation in Yuan-Ming anecdotes. Observed from the plot length are seven differences: (1) more weight being placed on lucre; (2) an emphasis on theatrical clashes stemming from Mr. Liu; (3) an increase on avoiding responsibility plots; (4) an increase in cadging plots, along with the downplaying of threnody; (5) an underscore of test taking plots; (6) revised story dotted with ditties; (7) an emphasis on etiquette and conjugal protocols. There are four revisions in the portrait of people: (1) Li Ya Sin (李亞仙) turning from being loyal to being ethical; (2) Zheng Yuan Ho (趙元和) turning from defiance to obsequiousness; (3) Zhao Niu Jing (趙牛筋) turning from a faithful friend to a repulsive baddie; (4) a pimp getting even mercenary and sophisticated. Two moral highlights are: (1) mores of being filial affectation and brotherhood; (2) resistance to alcohol and lust. Zhu You Dun portrayed a story that is more complicated, increased the use of ditties and characters, and made changes to plots and instrumentation, which also manifests the difference in Yuan-Ming anecdotes.