以王魁故事為題材的戲曲，自宋元迄今，完整的劇本計有：明傳奇一種，川劇 四種，平劇六種，崑劇、越劇、晉劇、豫劇、梨園戲各一種。歸納其結局，共有六 種不同的處理方式，分別為「活捉」、「情探」、「驚變」、「團圓」、「活捉接 對理」和「噩夢」。本論文即以此六種結局模式為中心，討論各劇本在主題、情節 、人物性格、藝術技巧等各方面的相關問題。

　　　　　From the Sung dynesty onwards, the extant complete dramas based on the story of Wang Kuei (王魁 ) are numerous and appear in a variety of forms. One in the form of the Ming romance( 明傳奇 )； four in that of the Szuchuanean therter (川劇 )；six in the form of the Peking opera (平劇 )；and one in each of the Kun theater( 崑劇 )， the Yueh theater (越劇 )， the Chin theater (晉劇 )， the Yu therter (豫劇 )， and the Li-yuan theater (梨園戲 ). With respect to the way in which the story ends, there are six modes of presentation, namely, "captured alive" (活捉 )， "love-testing" (情探 )， "anticlimax" (驚變 )，"happy-ending" ( 團圓 )， "captured alive and cross-axamination" (活捉接對理 )， and "nightmare"( 噩夢 ). The persent study, while focusing on these different modes of closure, discusses in detail the theme, the plot, the character, the artistic device and the related problems presented in each drama mentioned.