戏曲评点兴起于明代中叶,评点者或阐发文学见解,或“揭示文学艺术作品的美和缺点”。但是,他们在进行文学批评的同时,受作品具体描写的触动,时时会表达文学批评以外的见解:既有对儒家伦理精神和社会责任感的坚守,也有对怀才不遇的愤懑和对世态炎凉的感慨;既有对虚伪道学的嘲讽和对侠义的崇尚,也有对梦幻时代梦幻人生的感悟。它们共同折射出晚明时期士人的心态和精神。 Opera commentaries rise in the middle of the Ming Dynasty, comment on or interpret literary insights, or “reveal the beauty and shortcomings of literary and artistic works.” However, while carrying on the literary criticism, they are touched by the concrete description of the works, and sometimes they can express the opinions beyond the literary criticism. They not only insist on the Confucian ethics and sense of social responsibility, but also have the indignation of resentment and the emotion of the world; There are ridicule of the hypocritical Taoism and respect for chivalry, but also on the fantasy dream life dreams. Together, they reflect the mentality and spirit of scholars in the late Ming period.