古代封建社會中，女性的社會地位低落，尤其是身在風塵的妓女，命運已坎坷，又不為社會所容，實令人同情。而元代商業經濟發達，為應旅居在外的商賈所需，娼館到處充斥；而且蒙古統治下的社會，政治黑暗，讀書人社會地位比不上娼妓，加上地痞流氓橫行，使得一般人的觀念大為改變。關漢卿長期生活在低層市井，對妓女的不幸，寄予無限同情，＜救風塵＞ 就是在這樣的人文關懷下所創造出來的。本文所要探討的是從＜救風塵＞中了解元代的社會問題，關漢卿賦予不被重視的妓女崇高的品格形象，就是希望低層婦女的意識有所覺醒，為不幸的八娼九儒時代注入一劑強心劑，這也是本劇的張力所在。

　　　　　In the feudal society of ancient China, the degradation of women's social status was particularly revealed in prositutes whose misfortune and exclusion from the society deserved mercy. In the Yuan dynasty whose economy and trade flourished, prostitution prospered to meet the need of usinessmen who traveled a lot on business. Moreover, under the ruling of Mangolians in which political chaos was accompanied with gangsters bullying around, the intellectual were even inferior to prostitutes in social status. The circumstances greatly changed peole's previous concept of social ranking in which the intellectual were highly resected. Kuan Han-ching lived in the very low social class for long and because of his mercy on those prostitutes' miseries, he created the play "Chiu-feng-chen." This play probed into the social problems in the Yuan dynasty and tried to give those prostitutes who had been long neglected a respectable image of their character. By doing that, Kuan intended to arouse awareness of women in low class and hence shed a light on this age when prostitutes and the intellectual were highly disregarded. This is what lies in the very essence of this play.