中国古代社会往往视诗歌为正统,传统戏曲常常处于边缘化的地位。当一个新的声腔萌芽之时,封建统治阶级和文人阶层大多对此不值一哂。新生剧种多来自民间,缺乏文人的介入,文学品格自然不高,难以克服草根文化自身发展参差不齐、格调驳杂的先天不足,所以多不见于官修正史和文献典籍。另外,一个剧种在不同的地域传播,也受到不同社会因素和文化因素的多重制约,呈现不同的面貌,自然也会产生不同的称谓。加之 In ancient China, poetry was often regarded as orthodox, traditional opera often marginalized. When a new voice sprouted, most of the feudal ruling class and literati class were not worth the candle. Most new comedies come from the folk, lack of involvement of literati, literary nature is not high, it is difficult to overcome the uneven development of grassroots culture, style mismatched inherent deficiencies, so many do not see the official revision of the history and literature. In addition, a drama spread in different regions, but also by different social and cultural factors of multiple constraints, showing different faces, of course, will produce different titles. Plus