明代毛晉匯編的傳奇選集《六十種曲》，歷來多視之為場上演出之臺本。筆者重新檢視其觀點，探討諸家說法是否成立，並試著從《六十種曲》的編選理念與劇本體製出發，以釐清此套傳奇總集的屬性問題。 從汲古閣的出版傾向與《六十種曲》的選劇、弁語來看，毛晉編刻《六十種曲》最初是為教化人心，彰顯儒家綱常，其後續出《繡刻演劇》亦是從文學價值上著眼，但也兼及場上流行劇目；而毛晉交遊對象也多是文人、學者而非戲班、演員，可知其刊刻劇作的主要來源當以文人墨本為主。 從汲古閣本《荊釵記》、《香囊記》與文人評本、崑劇臺本的比對則可看出，汲古閣本在體製齣目、情節關目與曲白科介等方面都較接近文學本，但部分齣目或曲牌結構亦能為戲場接受。由此觀之，《六十種曲》或許更貼近寄託了文人編選意識的墨本，首要考量劇作的閱讀與文學價值，但亦兼及其場上演出的可行性。

”The sixty legends” collected by Mao Jin was often though as script. Author has review those statement were partial to the legend, not the whole. This thesis provides a view point from the collect-concept and type of legend to judge those statements true or not, also clarify the attribute of “The sixty legends”. According to the publish concept of Mao Jin and Ji-Gu-GE, they focus on a full version of legend and proclaimed Confucianism Culture. Since most people who has relationship with Mao Jin was poem and scholar not actors, also we can perceived the collection-concept from six prefaces. Author perceive the difference between Ji-Gu-GE, scripts and other perusable editions in “Siang-Nang-Ji”, find that Ji-Gu-GE is more similar to scripts from catalog, contents and lines. According those reasons, “The sixty legends” is more close to script not perusable edition.