在中國戲曲史上，一般論者皆將晚明至清初視為傳奇發展的重要時期，因為明傳奇至清初仍持續興盛，出現了《清忠譜》、《長生殿》、《桃花扇》、《十五貫》等名著。直到乾隆時期，花部興起，在花、雅爭勝的局面下，傳奇始日漸衰落，它的劇壇盟主之位才不得不遜讓於花部戲曲。從戲曲美學思想發展的角度來看，雖然清初的戲曲美學仍然延續著明代的思路，但經歷了歷史世變改朝換代的大動盪，文藝思潮上所產生的重大變化，必然亦將對戲曲藝術的創作與審美意識發展產生相應的影響。大體而言，明清戲曲藝術審美意識中「情」、「理」議題所促成的思想發展，可謂是探討晚明至清初審美意識演變的關鍵所在；而這項議題，大致可以以明代劇論中「風教」觀與「言情」觀之興替為觀察的起點。 戲曲劇論中「風教」與「言情」之辨，主要並不只是針對戲曲創作的內涵歸趨問題而起，在它中間亦伴隨著劇作家對於「戲曲」性質的體認，以及戲曲本身發展上的需求，所以在不同階段，有著不同的焦點，亦有其各自不同的意義。本文所述，即是要在晚明至清初戲曲審美意識的演變中，分析出其間觀念的轉換，與各階段論議的重點及意義，以作為理解此一時期戲曲與劇論發展的基礎。其中可注意之焦點如︰明代劇論中「情」「理」思想之交會，如何透過「言情」與「風教」之辨而得以表顯？明代中晚期李贄、湯顯祖等人「情至」觀之發展，透過從「言情」到「寫情」的藝術展現，對戲曲審美意識的內涵有何具體影響？晚明馮夢龍「私情化公」的「情教」觀如何拓展「情」觀的視野，成為啟導「情」「理」觀轉化的先機？明代末期孟稱舜、王思任等所謂「情之誠」、「情之正」的觀念反映出美學思想上何種變化？而清初尤侗、金聖嘆與李漁等人之劇論中「情性合一」、「欲不害情」與「道學風流合一」說，所顯示戲曲審美意識中「情」觀之多元化及所帶動之藝術發展，其重要性為何？ 要言之，情理觀之在明清劇論，自其初始，即肩負著澄清戲曲藝術特質，及尋求中國戲曲發展方向的使命。它與「風教」說的關係，亦有著頗為複雜的歷史面貌。中國明清戲曲之逐漸在其發展過程中，確立自身的藝術定位，並透過對於構成戲曲藝術諸多重要成分的理解，快速地發展了它在形製與內容上的精緻程度，此一思想上的導引力量，功不可沒。而其間重要的劇作家與劇論家，由晚明以至清初，如本文所述，皆在一般性美學議題，以及戲曲的藝術論上，具有卓識，值得細心考論；並可透過對於他們言論的理解，增加我們對於明清戲曲發展的認識，其重要性自不待言。

　　　　　This paper aims to analyze the transformation of some crucial concepts such as ch'ing and li in Ming-Ch'ing drama, and to explore the theoretical emphasis and significance of some influential dramatists at different stages as the bases to understand the tradition of Chinese dramatic aesthetics. The variations in the relationship between the key terms ch'ing and li can be regarded as the crux of the transformation of the aesthetic trend from the late Ming to the early Ch'ing. For further exploration, we may take the vicissitudes of the concepts of yen-ch'ing (the expression of ch'ing) and chia-hua / feng-chiao (moral teaching) as a starting point. However, the differentiation between chiao-hua and yen-ch'ing is not simply aimed at the issue of content in the dramatic writings. In the tradition of dramatic writing and criticism, what do the dramas themselves need in the course of their development, and what is the locus of the dramatists' and theorists' aesthetic interest and consideration? Are moral teachings the grounds for their artistic inventions, or are they grounded by the playwright's true sentiments motivated by his life experiences? These questions not only can be connected to general literary concerns, but also can be presented as special issues of dramatic art. Therefore, on the one hand, we should consider the common literary and intellectual trends beyond the dramatic aesthetic tradition in the Ming-Ch'ing periods. On the other hand, we should notice the special requirements of the dramatic art itself. In this paper, I first examine how the concepts chiao-hua and yen-ch'ing were differentiated by yet at the same time articulated the interaction between ch'ing and li in the Ming dramatic tradition. Then, by analyzing Li Chih's, T'ang Hsien-tsu's and Chang Ch'i's works, I explain how the artistic presentation was transformed from yen-ch'ing to hsieh-ch'ing (the writing of ch'ing) in the late Ming. Furthermore, I explore how Feng Meng-lung enlarged the horizon of the yen-ch'ing concept by his statement of “ssu-ch'ing-hua-kung” (transforming individual sentiments into universal compassion). By examining the dramatic criticism of Wang Ssu-jen, Meng Ch'eng-shun and Chang Tai, I then go on to discuss how the focus on the concept of ch'ing-chih (the supremacy of ch'ing) shifted to the concept of ch'ing-cheng (the rightness of ch'ing) in late Ming yen-ch'ing tradition. Finally, I analyze the multiple evolution of the idea of ch'ing and the artistic developments inspired by it in the aesthetic trends of the late Ming and the early Ch'ing. It would seem that from its inception, the discussion of drama in terms of ch'ing and li in the Ming/Ch'ing period took it upon itself the task of clarifying the characteristic features of dramatic arts, and of searching for the destined direction of the development of Chinese drama. The relation of this debate to moral teaching also has a very complex historical background. Chinese drama in the Ming/Ch'ing period gradually developed its own artistic position; as well, by coming to understand certain important components in the make-up of theatrical arts, it quickly developed to a very high level of refinement in form and content. This was an irrevocable achievement, which owed its success to a large degree to the profound work of the playwrights and critics discussed in this paper.