明代山右散曲四家之中 ,常伦和刘良臣较为突出 ,常氏散曲可分为“言情”、“慕仙向道”、“诗酒风流”、“鄙弃功名”、“寄寓抒怀”五大类。五类之中 ,“慕仙向道”和“诗酒风流”类以表层的轻松写深层的痛楚 ,一定程度上反映了明代中叶失意士大夫的复杂心态。“寄寓抒怀”类则写得朦胧、迷离 ,有一定的审美价值 ,整体上看 ,常伦的散曲呈现出“豪放飘逸”的风格 ,在明代北派散曲中 ,占据着重要的一席 ,差可与冯海浮、康对山等大家比肩。刘氏散曲 ,则以描写田园生活的作品最为突出 ,不仅弥补了散曲流派中“田园”一派的空白 ,而且具有相当的艺术成就 ,理应引起研究者的注意。另外两家 ,杨杰写“闺情” ,宁斋写“歌颂” ,题材、思想、表现均流于“时尚” ,未足深论。仅宁斋《元夜》曲 ,描写当时元夜民俗曲艺活动 ,对民俗、戏曲研究有一定的参考价值 Among them, Chang-Lun and Liu Liang-Chen are the most prominent ones in the San-Yuan San-Song of the Ming Dynasty. Chang’s Sanqu can be divided into five major categories: romance, Mu Xianxiangdao, poetry and romantic, despised fame, class. Among the five categories, “Mu Xianxiangdao” and “Poem and Liquor Merry” write the deep pain easily with the superficial layer, to a certain extent, reflect the complex mentality of the doctor who lost his mind in the mid Ming Dynasty. On the whole, Changlun’s Songs of Songs show a style of “noble and elegant”. In the Ming Dynasty, the genre of Northern Song Dynasty occupies an important place, And Feng Hai floating, Kang and other mountain shoulder to shoulder. Liu Sanqu is most prominent in his works depicting pastoral life, which not only makes up for the blank of the pastoral school in Sanqu School, but also has considerable artistic achievements that should attract the attention of researchers. The other two, Yang Jie wrote “passion”, Ning Zhai wrote “praise”, subject matter, ideas, performance flow in the “fashion”, not enough. Only Ning Zhai “Yuan Ye” song, description of folk opera folk activities at the time of the Yuan Dynasty, folklore, drama research has some reference value