散曲文学勃兴于元季,为我国古典诗歌之一脉,也是古代韵文文学的最后一体形态。同时,散曲中的套曲形式又是古典戏曲文学的本基,其在古代文学史上有着特殊的意义。明代散曲,初为元散曲之馀绪,明中叶后,随着俗文学的蓬勃发展,加之社会思潮的激荡,散曲文学在递嬗中呈现出诸多变异,然不乏其独特之处。清人散曲,则乏善可陈。如果说“南洪北孔”在传奇创作上尚能复振元明戏曲文学之坠绪,而在散曲文学史 Sanqu literature flourished in the first quarter of the Yuan Dynasty, one of the classical poems in our country, and also the last form of ancient rhymed literature. At the same time, the cover song form in Sanqu is the basis of classical opera literature, which has special significance in the history of ancient literature. After the mid Ming Dynasty, with the flourishing development of popular literature and the agitation of social thoughts, there are many variations in the literature of Sanqu literature in the evolution, but there are many unique features. Qing Dynasty Sanqu, the lackluster. If we say that “South Hong North hole” in the legendary creation is still able to revive the Yuanxu opera literature of the fall, and literature in the history of Sanqu