"雅俗并陳"的傳奇曲辭觀在明代萬歷年間的戲曲理論、批評與創作實踐中均有體現,具有理論與實踐遞相推進、相得益彰的特征。理論方面,屠隆發其端,王驥德集其成,汪廷訥、臧懋循等殿其后;創作方面,梅鼎祚《玉合記》啟其先,湯顯祖《牡丹亭》肇其極,《南柯》《邯鄲》二記承其波。從明清傳奇整體演進歷程觀之,這一曲辭觀及其踐行者打破了文詞派一統曲壇的局面,開啟了"雅俗相濟"的曲辭審美理想,推進了傳奇曲辭由雅俗分裂到雅俗融合的轉化,為明末清初傳奇的大繁榮推波助瀾,具有獨特的理論價值與轉關性的戲曲史意義。

In drama theories,criticisms and creative practices during the reign of Emperor Wanli in the Ming dynasty,the combination of elegance and popularity in chuanqi plays’ lyrics was prominent,which demonstrated the interactive characteristics of aesthetic theories and literary writings. In terms of theories,Tu Long made a first attempt,which was fulfilled by Wang Jide and inherited by Wang Tingne,Zang Maoxun,etc. In terms of creative practices,Mei Dingzuo’s The Story of the Jade Box initiated this thought,and then Tang Xianzu’s Peony Pavilion pushed it to its peak,followed by the other two plays The Story of Nanke and The Story of Handan. From the viewpoints of the whole evolutionary history of chuanqi in the Ming and Qing dynasties,it was this thought and its practitioners that changed the situation of the circle of chuanqi plays once led by the Wenci school,and thus that offered people a new aesthetic ideal of coexisting elegance and popularity. The trend from separation to combination led to the great prosperity of chuanqi in the late Ming and early Qing dynasties.