臺灣四面環海，人民對於海洋本應熟悉，但所表現出的態度卻是相對疏離。從古至今，面對浩瀚無邊的海洋，文士一方面展現熱情，同時也對海洋感到畏縮與恐懼，進而產生許多臆測與想像。在中國古典文學的發展歷程上，元代因社會劇烈震盪造成文化衝擊效應，文士轉而投入戲劇創作並以之為榮。元代與海洋有關的戲劇，為數不多，其中以李好古所撰之《沙門島張生煮海》雜劇，可說是元雜劇初期的傑作，同時此劇在性質上雖屬於神話劇，也是元代戲劇中少數與海洋密切相關者。因此本論文即以李好古之《沙門島張生煮海》作為為主要探討對象，針對故事內容進行耙梳分析，對劇中的海洋書寫與容美表現加以歸納，並探索元代雜劇對「海洋」的認知與表現手法，以及其所蘊含之人文意涵與時代意義。

Inhabitants who live in Taiwan should be familiar with the Ocean in terms of the location around the Sea. By contrast, inhabitants hold an indifferent attitude towards this issue. From ancient times to today, the literati not only showed their enthusiasm but felt afeard towards the idea of the vast Ocean. Hence, it has resulted in the creation of a lot of speculation and imagination. In the development of Chinese classics, the impacting effect of culture caused by the unstable society of Yuan Dynasty let the literates turn to the creation of drama proudly. "Sha Men Dao Zhang Sheng Zhu Hai" written by Li, hao-ku is, as it were, the masterpiece of the few dramas on the ocean in the early Yuan Dynasty. Although this drama is qualitatively of mythology, it is one of the few dramas that closely related to the ocean. Before presenting the point of views, this paper intends to explore three parts of the arguments. First, it will discuss: "Sha Men Dao Zhang Sheng Zhu Hai" as the primary object and analyze the story in general. Furthermore, it will sum up the description of the ocean and aesthetic expressions. Lastly it will explore the Yuan's understanding of the ocean, performance techniques, humanity and epochal meaning.