明傳奇中各類宗教角色及神怪情節充斥，其濃厚的三教合一色彩，在「宗教文學」的研究中是非常值得注意的一環。本論文主要即針對明傳奇中屬於「非典型的宗教劇」，來歸納其中各種角色與宗教有關之動作及情緒發展方向，以瞭解此類傳奇中「內在宗教意識」之推展形式與規律。研究方法是參考俄國敘事學家普洛普（V. Propp）歸納民間故事型態之理論，和格睿瑪（A. J. Greimas）在《結構語義學》中所提出「角色模式」和「行動元」之觀念，以《六十種曲》為核心，並擴及《全明傳奇》二百四十七本劇本，歸納分析其中各式「宗教角色」和「宗教性情節」。全文共分三段，除「前言」和「結語」外，第二段主要將明傳奇中之「非典型宗教劇」分為「情愛風波型」、「家庭悲歡離合型」、「歷史、俠義型」和「其他混合型」四種本事類別，並分析其中的敘事模式和故事結局。

Various species of religious characters and mystical plots in legends of the Ming dynasty, colored with the syncretism of three religious, are worthy of research in religious literature. This paper mainly attempts to infer the action and emotion developmental directions of characters and religions from the ”atypical religious plays” in legends of the Ming dynasty in order to understand the forms of movement and laws in the inner religious consciousness among those species of legends. The research method refers to the Russian narratologist V. Propp's morphology of folktales and A. J. Greimas's ideas of actantial model and actant in Structural Semantics. It analyzes and induces various kinds of religious characters and plots in ”The Sixty Legends (Liushi zhong qu)” and expends to ”Quan Ming Legends (Quan Ming chuan qi)”. The paper comprises three sections. Besides the sections of Introduction and Conclusion, the second section mainly classifies the atypical religious plays in legends of the Ming dynasty into four genres of Love Romance, Family Sorrow and Happiness, Gathering and Departing, Historical Righteous Justice, and Other-Mixture, as well as analyzes the narrative models and story resolutions.