本文針對現存元雜劇不同面貌的三個階段之版本差異，以上場詩為主要研究對象，除了呈現前賢研究視野下的上場詩面貌之外，並以此為基礎，比較分析，補充說明前賢未及探索之階段性差異面貌。歸納前賢之研究成果，發現上場詩之討論尚有兩大缺口：一是對於元代刊鈔本雜劇之上場詩存在情況，缺乏深入的探索；一是對於明代宮廷本元雜劇與《元曲選》兩階段所載之上場詩差異，缺乏比較分析。故本文在前人的研究基礎之上，針對這兩塊知之未詳的領域，進行討論，一面窺探與推想上場詩在元代刊鈔本雜劇中之可能存在狀況，一面藉此呈現《元曲選》作為元雜劇之重要版本，其改編作法與改編理念。經由不同階段的版本比較，除了盡可能還原上場詩在元代刊鈔本雜劇中的存在概況外，也歸納出臧懋循於上場詩之改訂上，主要作法為刪改類型化詩對及著重於貼近人物形象、故事情節等面向。

This article will research about the entrance poetry in different stage librettos of Yuan zaju. In addition to understanding worthies research about the entrance poetry, and as a basis for comparative and analysis, to supplement the phased difference in the face of the worthies no time to explore.I had found there are two major lack when I summarized the worthies research about the entrance poetry. One is the lack of detailed exploration for Yuan Dynasty published about its existence poetry;the other is lack of comparative and analysis that contained in the two stages of Yuan zaju about the librettos that played in palace at Ming Dynasty and ” The anthology of Yuan zaju ”. Therefore, in the basis of previous studies,I will discuss these two areas that little be know. By comparing with the different stages of the version, in addition to restore as much as possible to play the overview of the presence of poetry in the Drama of the Yuan Dynasty published,and also summarized what adaptations were done by Zang Mao-xun in the entrance poetry of Yuan zaju.