「元曲四大家」－－關漢卿、白樸、馬致遠、鄭光祖等四位劇作家，其文學成就已為定論，然而在此一文學長河中居於要位的女性敘說，卻乏人以微觀的視野，深入文本，一一剖析四人的異同及其特色，此即本論文所欲探索者。 歷來研究學者因元代特殊的時空背景，大多將研究重心投注於衝突的對立面。撰者以為偉大的劇作家若心中長存怨懟，其創作勢難動人心弦，因此本研究將焦距穿透對立（「礙」），試圖挖掘劇作家在劇中所形塑的「愛」及化「礙」為「愛」的動力，重新審視元曲四大家在女性敘說中的的內在價值，及其創作手法的異同比較，期展現四位作家的劇作特色。 在元曲四大家的婚戀敘說中，作家筆下的正旦都是「美」與「愛」的化身，做為配角的女性在面臨婚戀問題，她們大致上是以愛與包容對待眼前的一切。 白樸及鄭光祖的敘說對象非官家子女即貴妃，其敘說觀點較為一致；關漢卿、馬致遠的敘說則層次較為寬廣，其理念亦較多樣。其中鄭光祖的四本女性敘說劇本中，其角色全無一負面人物，若言鄭光祖是理想色彩濃郁的作家應不為過。 元曲四大家的作品肯定婚姻命定與女性「愛」的力量。由於「愛」的動力，讓四位劇作家筆下的女性為其人生理想而「忍」，至於婚姻命定的觀點則支撐女性勇於追求因「因緣」而聚的「姻緣」。 This is the study of the four drama masters, Guan Hanging, Bi Po, Ma Zhiyuan and Jin Guanzhu from the Yuan era. Their literature is legendary and people everywhere know of their brilliance but even though “women” is an important part of literature as a whole, their study is not as detailed on this subject. In my report I will compare the four masters’ work with regards to women. From their study it can be seen that marriage makes women love, gives them the power of love, not the other way around. It can be seen that women often have to endure every aspect of their lives, not by choice but by circumstance. Women’s belief that even loveless marriages are predestined, strenthens them in their determination to make them work.
