戲曲發展趨向是先以敘事為重，再以抒情為主（敘事→抒情）的。關漢卿、王實甫、馬致遠為元前期雜劇大家，據三者雜劇風格論，實不難看出「以劇作劇」、「以詩作劇」、「以劇作詩」之特點呈現。而關、王、馬三者，無論是生卒年代、以抒情為依歸的戲曲創作趨向（劇人之劇→詩人之劇→劇人之詩）皆是「關→王→馬」循序發展的。 本文以「戲曲抒情化趨向」論關漢卿、王實甫、馬致遠，在內容敘述上先將三家劇作加以歸納析論；再以元、明、清劇作家創作趨向論三家風格之呈現與「戲曲抒情化」關係。據此論述可窺知：關、王、馬三家鼎立的風格，不僅呈現了戲曲創作抒情化趨向的特點，更是貫串中國戲曲發展的脈絡。

Drama to develop rule is describe, at first. Then to express ones feelings (to describe→to express ones feelings). Kuan-HannChing、Wang-ShyrFuu、Ma-JyhYeuan is famous dramatist in Yun-tai. From they dramas style you can find "by dramatist write drama" and "by poem write dramas" and "by dramas write poetry" different style. However, Kuan "by dramatist write drama"→Wang "by poem write dramas"→Ma "by dramas write poetry" rule is Chinese drama develop rule. This text, To describe Kuan、Wang、Ma by drama "express ones feelings" . At first explain they drama, then to study Yun-tai、Ming-tai、Ching-tai etc dramatist style. According to this study we understand: The Kuan、Wang、Ma drama style is "express ones feelings" and string Chinese dramas develop.