The paper aims to explore the utilization of north qu model tunes in Lee Yu´s legends written in the early Qing Dynasty. The elaboration process first surveys horizontally the utilization of north qu model tunes in Li Yu´s dramatic legends so as to obtain overall comprehension. Next, it analyzes vertically north qu model tunes as they appeared in works by Lee Yu during the early Qing Dynasty, and how they differed from those prior to the Ming Dynasty. Combining horizontal and vertical thinking, it will dig into the differentiating factors from the perspective of stage performance. In conclusion, north qu model tunes in the early Qing Dynasty mostly inherited those of the previous era. They were short in creative innovation. Moreover, few of the tremendous amounts of qu tunes in previous era survived in the early Qing Dynasty. Only limited amount of familiar qu tunes and models sustained inheritance. They no longer generated new vitality. The phenomenon elicited indication from two perspectives. From the perspective of remaining, north qu model tunes which survived in the early Qing Dynasty tended to be suitable for stage performance after time´s blessing. They were qu tunes good in sounding and emotions. Such a screening process meant that the tendency of development for qu in the early Qing Dynasty was to move towards theatre. From the perspective of changing, the eliminating process resulted in transformation in north qu. To sum up, north qu became Kunqu. From the discussion throughout this paper, it is not difficult to discover that Lee Yu utilized north qu in almost each dramatic work. Nevertheless, the quality and quantity exemplified by it differed totally from that in the Yuan Dynasty. Thus the utilization of north qu model tunes in legends of the early Qing Dynasty seemed to be directed towards identifying themselves with Kunqu.