唐詩、宋詞、元曲一脈相承而體式各異。宋詞借鑒唐詩的研究，其研究成果已甚為可觀；但元曲與宋詞的借鑒關係，卻只有單篇論文略及文化觀念之借鑒，未有具體作品分析比較的研究。元曲與詞雖同為長短句，但元曲有散曲與劇曲之分。綜觀元曲，不論散曲與劇曲皆有運用宋詞現成素材創作之例，散曲借鑒宋詞與宋詞借鑒唐詩之法相近，但劇曲卻大不相同，因為劇曲除了有曲文以展現韻文之美，賓白匯聚各式文體以推展情節、塑造人物性情，又兼具詩、詞、小說、講唱文學之內涵；其韻散兼運的敘事性情節和舞臺的立體表演使元雜劇在運用宋詞時產生許多變化，同時也透過舞臺演出，對宋詞起到更廣泛地傳播作用。在《元曲選》百種北曲雜劇中，運用詞作以發展劇情的雜劇，共有《謝天香》、《金線池》、《望江亭》、《後庭花》、《東坡夢》、《玉壺春》、《風光好》、《竹葉舟》、《兩世姻緣》、《蕭淑蘭》、《劉行首》、《百花亭》、《碧桃花》、《梧桐葉》等十四本雜劇。其中又有《謝天香》、《東坡夢》、《風光好》三劇，以柳永、蘇軾、陶穀引領主要情節，因其詞人身分，三劇各以其〔定風波〕、〔滿庭芳〕、〔風光好〕穿插於戲劇情節之中，是完全運用宋詞篇章以組構劇情、發展人物性格的典型，本文透過分析劇本情節結構、人物塑造，比較曲套、曲牌、詞牌之變化，以觀元雜劇運用宋詞時在篇章運用上的變化之法，並探討戲曲在運用宋詞以組織劇情後的反餽傳播關係。

Shi (Tang), Ci (Song) and Qu (Yuan) are succeeded literature with different developed styles. Studies on Songci's borrowing from Tang's Shi are prolific. On the contrary, Yuanqu's borrowing study from Songci only appears in one essay. The essay briefly mentions cultural concepts’ borrowing, but it lacks an analysis or a comparison on specific literary works. Although Yuanqu is developed as two categories-Sanqu and Zaju, Yuanqu and Ci's form are still belonging to uneven sentences, and Sanqu and Zaju both adapt Songci as compositional materials. The methods of Sanqu's borrowing from Songci are similar with Songci's from Tang's Shi. Zaju's methods are different from above, for Zaju blends verse in songs and several literary styles in dialogue, which contributes on constructing plots and protagonists. Besides, Zaju possesses the virtues of Shi, Ci, Xiaoshou [Chinese novel] and Jiangchang literature [narrative and musical performance]. Its narrative style that blends verse and prose and the staging performance endows Zaju diversified methods on exploiting Songci. At meanwhile, through performance, Zaju broadcasts Songci widely. Among Yuanqu Xuan's [A Selection of Yuanqu] hundred scripts of Zaju, fourteen ones develop plots relaying on Ci, including Xie Tianxiang, Jinxian Chi, Wangjiang Ting, Houting Hua, Dongpo Meng, Yuhu Chun, Fengguang Hao, Zhuye Zhou, Liangshi Yinyuan, Xiao Shulan, Liu Xingshou, Baihua Ting, Bitao Hua, Wutong Ye. Xie Tianxiang, Dongpo Meng, Fengguang Hao are the typical cases that totally exploit pieces of Songci to construct the plot and to develop characteristic of protagonists. The three scripts interweave ”Ding Fengpo,” ”Manting Fang,” ”Fengguang Hao” in the plot, for their leading protagonists are Ci's composers-Liu Yong, Su Shi, Tao Gu. The essay will analyze Zaju' structure of plot and development of characters, and compares the transformations of song-sets, tones and titles. The essay aims at observing Zaju's operational methods on borrowing pieces from Songci, and discusses Zaju's feedback on broadcasting Songci, when interweaving it to construct the plot.