CAJ | 학술논문

冯梦龙主张戏曲创作要“奇”，且“调协韵严”，基于此，他对晚明剧坛创作中存在的问题予以批评。这些批评从两个方面展开。在“曲”的方面，他批评了民间传奇创作、文人创新、汤显祖及其追随者等；在“戏”的方面，他提出“奇”的标准——“事奇”和“掀翻窠臼”，并批评很多作品难以做到这两点。冯梦龙对晚明剧坛的批评原则立于对形式的推崇，故而有其局限性。
풍몽룡주장희곡창작요“기”，차“조협운엄”，기우차，타대만명극단창작중존재적문제여이비평。저사비평종량개방면전개。재“곡”적방면，타비평료민간전기창작、문인창신、탕현조급기추수자등；재“희”적방면，타제출“기”적표준——“사기”화“흔번과구”，병비평흔다작품난이주도저량점。풍몽룡대만명극단적비평원칙립우대형식적추숭，고이유기국한성。
Feng Menglong claimed that the writing of dramas should be Qi, and with harmonic melodies and rhymes. Based on this opinion, he criticized many problems in the writing of dramas in late Ming dynasty. There are two aspects of these critics: on the aspect of Qu, he criticized the writing of folk dramas, the innovation of intellectuals, and Tang Xianzu and his followers. On the aspect of Xi, he raised a criterion of Qi. Stories should be Qi, and should not follow old models. Moreover, in his opinion, many dramas could not meet these two criteria. However, his critics based on his own respect to the form of dramas had their own limitations.