“情”作为文学创作的灵魂贯穿在整个戏曲长河之中,从汤显祖的《牡丹亭》为起始,“情”在明末清初的演变尤其突出。从情之至到情之殇,儿女之情,忠义之情以至后来的末世之情无不展示了历代文人对社会,对国家,以及对人生的独特体会。但是“至情”中不断增加理学的成分,这股“逆流”终究还是被打压下去,淹没于时代的大潮之中 “Love ” as the soul of literary creation runs through the whole opera. Starting from the “Peony Pavilion” of Tang Xianzu, the evolution of “Love ” was especially prominent in the late Ming and early Qing dynasties. From love to affection, love of children, love of loyalty, and later eschatology, all of the literati of all ages demonstrated their unique understanding of society, their country and their life. However, the increasing proportion of Neo-Confucianism in “love” has eventually been suppressed and submerged in the tide of the times