《竇娥冤》是關漢卿劇作中，相關研究論著最豐厚的一部；諸家幾乎皆以《元曲選》本為討論對象。本文將早期版本《古名家雜劇》本《竇娥冤》納入，深入比對、分析兩種版本，透過「重讀」與「細讀」，深掘人物性格及其情緒反應的細微差異，進一步探索其中埋藏的意識型態與價值觀。文章首先以明人改編傳奇《金鎖記》為對照，觀察《元曲選》本《竇娥冤》與《金鎖記》之間可能的「互涉性」，以為探索《竇娥冤》兩種版本在文本與意識型態主要差異的基礎。其次，本文論述兩種版本之「蔡婆」形象，如何從「人性的軟弱」轉變為「道德性的描繪」，並強調臧懋循改編之「道德教化」企圖。其三，論述竇娥形象如何由「宿命論的殉道者」轉變為「懷疑論的受難者」。其四，從「不辱家門」與「復仇之鬼」兩種意識，論述第四折的「平反」，其意義展現出「通俗化的道德觀」。餘論則指出王國維有關元雜劇「悲劇」論述中所看重的「主人翁自由意志」，可能出於對《詩學》的誤讀，而其所稱道的悲劇主人公，顯然意指《元曲選》版本的竇娥。

Guan Hanqing´s Dou E Yuan is his most famous play which also appeals to most researchers´discourses and attentions; however, many of them focus on the Yuan Qu Xuan edition. This paper will discuss this play from its extent earliest version, the Gu Mingjia edition, tries to compare with these two version´s differences and expand on how their differentials influence on the roles´characters and their mental responses. By the process of re-reading and close reading, this paper will gradually peel off the texts and show its ideology and value judgment hid inside. Also, this paper will take a Ming Chuanqi play Jin Suo Ji as a comparison to Yuan Qu Xuan, which gives us an image on how the Yuan drama and Ming drama interact.