PAI CHANG is a significant characteristics on the performance art of classical China drama. It is especially important to the classical drama in Ming and Ching Dynasties. In face, the arrangement skill of PAI CHANG ON Chinese opera in the Yuan Dynasty has followed the precedent way and further been more excellent, delicate and detailed. Before a formal beginning, Yuan-Dynsty opera succeeds to Sung-Dynasty opera for its "CHIN YU", "KAI HO", "JAO CHU" or program such as dancing with song, skill and craft, etc. For the Yuan-Dynasty opera, a leading male role, secondary male-role characters and senior female characters will go on stage first. What the beginning poem they read has also been getting to be a certain program. "CHI TZU" at the beginning of an opera is one of plot structure overall the opera. Nevertheless, usually Yuan-Dynasty's play does not specially mark it. With regard of melody, HSIEN LU tune is commonly used which also is corresponding with music tune in the first part. In function, it works to carry on the function of clues. We can see how it is so important in PAI CHANG. Mostly, the number of PAI CHANG for each part is often about one to two times, which can be increased from five to seven PAI CHANG upon the requirement of plot. In the treatment of guiding play, there are effect in compression of time and space. Usually, grievance-revenge opera has been going with conflict and struggle behind at the port of the guiding play, or a great piece of spoken lines will be given in each part by a same key character who goes on the stage first. Such sort of PAI CHING will also bring functions to give the explanation and simplify the length. With respect to characrer arrangement, in the treatment of major play for the Yuan-Dynasty opera, there are two aides of characters, positive amd negative, which usually provide effect of contrast like flowers and leaves. On the part of leading singing character, obviously, majority of the grievance-revenge are arranged with two to three leading character singers, even male role and female role will separately sing a play. On the part of tune suite, music in each play will be corresponding with its plot. The usual practice is that HSIEN LU tune TIEN HSIANG CHUN suite is commonly used in the first part. Nevertheless, "SHUANG HSIEN GUNG" and "YEN CHING PO YU" break the usual practice. We can see a writer's intention in creation. In addition, numbers of the tune suite are closely relative with theme materials and plot. For instance, majority of grievance-revenge operas ane made with tune suite over eleven (II) pieces in the third part while there are only ten (10) books with tune suite less than five pieces for the fourth part. Besides, lots of them come from notable writers. With regard to suite organization in Yuan-Dynasty opera, usually, suite, two tunes turning in cycle, KO WEI, YAO PIEN, single tune going between repeatedly, and final tune repeatedly used, etc. are matched each other which carry conisiderably significant functions on detaild statement to an overall opera group, transition, and detailed description in characters' psychology Besides, "Interlude" usually is peppery, acrid and ironic or used to relieve one's nature and personality, spread out plot further, in addition, meet requirements of general people's interest, etc. Action-conversation play indeed not only is an attractive and wonderful performance over a part of Yuan-Dynasty opera, but also is usually used to develop its plot. Especially the "CHI TZU" between parts, due to its bridge position, is carefully arranged by all opera writers. On the part of the final play, what the mostly special in the tune suite organization for the fourth part undoubtedly is "HUO LANG TAN" No matter in tune suite insertrd with another suite or rhyme, it all can have its outstanding expression different from traditional formula, which somewhat gives different color of Southern tune. To stimulate a climax in a final part with such manner, writers' both courage as well as ereation are very admirable. After the final play in Yuan-Dynasty opera, there also is "SAN CHANG" which, following the traditiiional custom of Sung-Dynasty opera, will be sang, or read or danced with song. Due to its position not so important as "CHI TZE", only few books of Yuan-Dynasty opera, which still exist currently record the "SAN CHANG" and tune of "SAN CHANG", even among which only "SAN CHCAN" is only marked and with tune and literature omitted. Owing to the strong consciousness of grievance revenge in the revenge operas, it is extremely close to the general suffering people's spirit who were reigned under Mongolian ruler and Yuan Dyansty. We can see at that time how unprecedented the PAI CHANG made for such operas was which would further stimulate an opera writer's effort on arrangement of the PAI CHANG. Affter several levels of study and discussion, it is obvious that arrangement skill of the revenge opera is not only successive, but also creative, which should be affirmative. Meanwhile, it also shows the achievement of the PAI CHANG for Yuan's operas in art.