三言二拍在明末以后的戱曲、小說作品中被大量改編，据筆者統計， 共有86篇擬話本被改編，出現125篇선變之作， 主要是集中在明末淸初的戱曲作品。與原作相比， 선變作品存在明顯的文人化創作傾向， 具體體現在三個方面： 文本創作重心和表現對象的文人化； 關注文人話題； 注重社會敎化功用， 筆者試圖對此加以論述， 幷從實學思潮的熏染、 文人主體意識的覺醒以及社會現實影響等方面分析出現文人化創作傾向的原因。
“San Yan(三言)” and “Er Pai（(二拍)” were adapted a lot in the tradition operas and novels after the end of Ming dynasty. According to the statistics, add up to 86 “Imitating Hua Ben(話本)” were adapted and it appeared 125 transmute opuses. They were concentrated in the tradition operas principally in the beginning of Ming Dynasty and the end of Qing Dynasty. Compared with the manuscripts, it existed obvious literati creating tendency in the transmuting opuses. It embodied specially by three aspects, which were the literati tendency of creating core of opus in the opuses and showing objects, and showing concern over literati topic of conversation, and paying attention to society edify function. I try discussing them and assaying the seasons that literati creating tendency appeared from edifying of actual learning ethos and awakening of literati’ main body awareness and society reality influence.
一、文本創作重心和表現對象的文人化
二、關注文人話題
三、注重社會敎化功用
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