The Pao Volume had been off the engraving since Cheng Teperiod in Ming Dynasty and considerably popular during Wan Li and Chung Chen periods. In Kang His period, it was getting quiet and again getting prosperous over Chiangsu and Chechiang during Tung Chin and Kuang Hsu periods. There are the former and the latter Pao Volume. The Pao Volume which was popular during Tung Kuang period is the latter one and it is also named "Hsuan Volume", In order not get confused and mixed with "Hsuan Chiang Volume", the essay will use the name of "The latter Pao Volume". Times of the three Pao Volumes, "Buddha Talking Virtuous & Filial Woman Meng Chiang And Great Wall Pao Volume", "Great Wall Pao Volume" and "The Fairy Meng Chiang Pao Volume" was across the periods from the middle and late Ming Dynasty to the late Ching Dynasty. They were very representative. Approaching the three Pao Volumes, based on the former researchers' study, the writer can watch the style and performance skill of the Pao Volumes along the long history viver as well as the situation of progressive movement of Meng Chiang Folklore in the Pao Volume. From the three Pao Volumes, we can find track of the progressive movement in style and performance skill of the Pao Volume from the middle and late Ming Dynasty to the late Ching Dynasty as follows: (1)Most of the former Pao Volumes followed the Sutras in chapter separation and oration style and the latter emphasized more in complete and compact plot without chapter separation. (2)Quantity of Pao Volume tunes was progressively decreased and the popular folk tunes were getting increased. (3)For the part of prose, the latter Pao Volume gradually could get rid of the bad verbosity and perform a smooth literary talent. (4)In rhetoric skill, certainly the late comer ends up in front. The skill was more active and clever and getting double fun. The characteristics of the progressive movement in the three Pao Volumes of Meng Chiang folklore from the middle late Ming Dynasty to the late Ching Dynasty are as follows: (1)Names and places of birth of the leading male and female roles were changed due to close pronunciation or changed due to close style. (2)Meng Chiang had to see His Liang on a pond. It showed a track of ancient practive. "Naked bathing for marriage". (3)Marrying plot for the couple gradually was getting to be logical and reasonable from a color of destined causality. (4)The former Pao Volumes mostly gave praises to Chin Shin Huang and the Pao Voumes in the late Ching Dynasty not only removed condition of the people's bitterness, left nothing, but also cancelled the role of Meng Tien. It was hard for Shin Huang to shirk his responsibility. (5)In the processes of her looking for husband, color of religion like the immortal Grandma with limitless power was getting light, nevertheless, the strength of Meng Chiang crying the Great Wall was getting stronger. (6)The three Pao Volumes all completely exalted ethics of filial piety. (7)The three Pao Volumes all remained ancient people's practices. "Offering wall with people sacrifice" and "To be tired of victory". (8)The three Pao Volumes all made exaggerated the situation in Meng Chiang's dying for hsband, or jumping into the water or jumping into the sea and finally returned to Paradise. It appears life sublimation and significance of more symbols, with very performance of a traditional estheticism in folk literature, "sorrowful but not sad".