《陌花軒雜劇》為晚明黃方胤的組劇作品，由《倚門》、《再醮》、《淫僧》、《偷期》、《督妓》、《孌童》與《懼內》七種短劇構成，從內容上看，諸劇多針砭時弊，有對妓家風月生涯的深刻披露，或描繪晚明的男風現象與驕奢淫佚風尚，或寫和尚嫖妓之宗教亂象，或寫縱欲的女性，甚至有丈夫要求妻子倚門賣色、違反家庭倫理之作。細究其內涵，作者多取材市井荒唐之事，與晚明的經濟發展、世態人情、學術思潮多所對應，呈現出禮法之鬆動與宗教制度弊端。觀察《陌花軒雜劇》諸劇，幽默情節隨處可見，劇作家以誇張、戲謔方式指陳現實生活中的缺陷，內容涉及大量的情欲書寫與鄙俗之事，其創作主旨並非一味尋求刺激的感官經驗，而是為了進行挖苦嘲諷，揭露時人追逐金錢與恣情縱欲的社會現象。作者有意通過猥瑣之事，藉由猥褻語、雙關語與諧音等形式，或運用角色人物科諢的表現形式來完成演繹，達到引人發笑的心理機制，在這些嘻笑怒罵的情節背後，蘊含深沉的諷諫意涵，也反映出禮教的漸成虛設，展現「世情化」的傾向。

Mo Hua Xuan Zaju is the creation of Huang Fang-Yin in the late Ming Dynasty, including seven short plays like Yi Men, Zai Jiao, Yin Seng, Tou Ji, Du Ji, Luan Tung, and Ju Nei. It not only writes the mess of the monks hooking up with the prostitutes, but also depicts the family's disorder like the women cheating and having many marriages, or the greedy husbands asking their wives to have transactional sex for money. The plays precisely reveal the life of the prostitutes, the mood of extravagant behaviors and the male homosexuality in the late Ming Dynasty. Huang collected the sources from the people's ridiculous and obscene life corresponding to the common custom in the late Ming Dynasty There are so many humour plots in the plays of Mo Hua Xuan Zaju, because the playwright pointed out the defects in real life with exaggerated and bantering ways including a large numbers of erotic writing and vulgar things. The topic does not break the manners or pursue a simulative sensual experience but it teases and ironizes the social phenomenon of indulging in sensual passion without scruple. Huang want to make people laugh with obscene things or words and the pun ways, so that he could prove the doubts of ＂holiness＂ and ＂sublime＂. The plays which have the profound irony reflect the decline of Confucian code of ethics and show the popularity of ＂mundaneness＂ behind merry laugh or angry curse.