一、概述《西厢记》作于元代,但它在明代曲坛上却真正地成了戏曲的“夺魁”之作,有明一代之“《西厢》热”弥久不绝,一时评点蜂起,《西厢》版本的出版也达到了高潮。然而,爬梳于清代的戏曲批评,我们将发现,有清一代对于金批《西厢》的研究也是一个值得注意的现象:戏曲史发展到了明末清初,由于金圣叹批本《西厢记》在曲坛的崛起,《西厢记》的其它批点本在历史的洗汰中已逐渐地趋向了沉寂。在清代,金批《西厢》已基本上遮覆了明代《西厢记》评点的光彩。于是,一场新的《西厢记》研究热潮在清代的曲坛上重又掀起,然而其对象已不再是王 First, an overview of “The West Chamber” made in the Yuan Dynasty, but it really became the opera songwriter in the Ming Dynasty “win the chief” for the work, there is a generation of “West Wing” hot “ , ”West Wing“ version of the publication also reached a climax. However, the opera criticism in the Qing Dynasty, we will find that there is a generation of gold grant ”The West Wing“ is also a noteworthy phenomenon: the history of the drama developed to the late Ming and early Qing Dynasty, as the ” In the rise of the altar, the other batch of “The Romance of the West Chamber” has gradually tended to be quiet in the process of historical elimination. In the Qing Dynasty, Golden Grant’s “West Wing” basically covered the glory of the “The Romance of the Western Chamber” in the Ming Dynasty. Thus, a new “Western Chamber” research upsurge in the Qing Dynasty song set off again, but its object is no longer a king