正典化的意義生成代表了作品是否寄寓了人類共同命運，普世性的價值認同。其主導權乃是在於審核者身上。典律是審核者所預存的文學藍圖，他透過審核文本的種種手段（包括批評、獎勵等等），完成典律的具象化，並經由種種管道達到其典律的散播。所謂的審核者並不單止於個人，有時是甚至代表的是個龐大的組織，這個組織可能是一個文學社團，也可能是一個學院學派，甚至可能大到是一個政府機構。因此，典律研究可說是一種傳播效度的研究。審核過程既是依據典律進行的檢調排他的過程，所以傳播效度的大小，往往與審核者在文壇上的權威，乃至於社會政治的權力息息相關。 《琵琶記》正典化的歷程，曲論家情有獨鍾的將《西廂記》、《拜月亭》、《琵琶記》三部作品並存而論，而曲論家們紛紛站在各自持定的觀點予以批駁與討論，通過這場論戰逐漸形成兩股勢力，一股隸屬於何元朗的尊《拜月亭》與《西廂記》，另一方面則是由王世貞身為文壇領袖，提出尊《琵琶記》為「曲之祖」的絕對地位。 然而，終結這場論戰的大抵是王驥德於《曲律》中所提出的呂天成把《琵琶記》、《拜月亭》並列神品，則王驥德持相容並包的「本色」觀，又從思想內容上考慮，將《琵琶記》列為「妙品」，而將《拜月亭》列為「能品」。這場論戰持續相當長的一段時間，以致到毛聲山評點《琵琶記》時，尚有零星的論戰。卻也瑕不掩瑜的讓《琵琶記》站上曲祖的寶座，固然曲論家功不可沒，而《琵琶記》自身的「風化思想」也是成為後世戲曲創作者服膺的準則。 筆者更以為戲曲文學得以迅速蓬勃，無非得力於這場論戰的發生，牽引更多的戲曲批評者、讀者參與其中，使作為通俗文學樣式的戲曲的地位得以提升，並且為後來戲曲創作的繁榮與評論風起雲湧，折射出創作者、讀者、評論者各自觀點的呈現。

Whether the meaning of the straight allusion quatation has produced the representative works to send and reside mankind's common destiny, general the value of the sex is approved generation. Its leading right is to lie in the person who is verified on one's body. The law of the allusion quatation is the literature blueprint that persons who are verified prestore, he is approved all sorts of means of the text（include criticizing, rewarding etc.）,Finish the melting alikely of law of the allusion quatation, and reach the disseminating of its allusion quatation law via all sorts of channels. What is called persons who verify and not merely stopping to individual, it is a huge organization that even represents sometimes, this organization may be a literature corporation, or a institute school, may heavy to it reaches to be one government organs even. So, the law of the allusion quatation is studied and can be regarded as the research of degree of a kind of spread result. Verify since course according to that law carry on to is it transfer exclusive course to examine allusion quatation, propagate size, result of degree, often with the authorities in the literary world of persons who verify, and even the power in the society and politics is closely bound up. Course, " write by pipa " of straight allusion quatation, song have only Zhong " Romance of West Chamber ", " visit monthly pavilion ", " pipa write " three works compatible but theory in terms of house feeling, and the song is standing and holding the view definitely and refuting and discussing each one after another in terms of the family, form two force gradually through the debate, what one under the jurisdiction of yuans of bright " visiting the monthly pavilion " and " Romance of West Chamber ", chastity take as literary world leader generation by king on the other hand, propose " pipa write " for absolute status of ' grandfather of song ' ". But end the debate Wang Ji Germany TianCheng Lu put forward in " song law " " pipa write ", is it tie for the superb work to " visit monthly pavilion " in the main, Wang thoroughbred horse Germany hold inclusive and ' true quality ' view that make, consider from thought content also, classify " the pipa is written " as ' the quality goods ', and " visiting the monthly pavilion " will be classified as ' can taste '. This debate lasts quite a long time, reach Mao ShengShan to punctuate and annotate it when " the pipa is written ", still have fragmentary debates. Also the defects cannot obscure the virtues let it " write pipa " in station by throne of grandfather Qu, song in terms of perform meritorious deeds never to be obliterated by house, and " pipa write " getting one's own to become later age criterion of taking breast, creator of opera, too no doubt. I thought even more opera literature must use rapidly flourishingly, the only capable emergence of this debate, draw more opera critic, reader and participate, make the status as opera of the light literature design be improved, and surge forward for later on prosperity and comment that the opera is created, refract out the appearing of each view of the creator, reader, commentator.