明末戲曲發展成熟，文士流連歌場，閒賞樂音，編寫、評點劇作，或品評、
著錄氍毹聞見，蔚為風氣。如沈德符、祁彪佳、張岱⋯⋯都為明代紀錄文士生活
與戲曲的關係。明代戲曲以南曲為盛。然亦有文士喜愛北曲，如何良俊雅愛復古
北調，使北調在明代別具意義。止雲居士輯錄之北調散齣選集《萬壑清音》，
保留明天啟四年（1624）以前展演於崑劇舞臺之北曲散齣。除有丑、淨、外、
末、生之專屬折子外，旦腳行當的分化也變化多彩，為旦、貼旦、老旦各自分立
的崑腔北套折子戲開先鋒。北曲音樂風格勁切激越、高亢剛揚，《萬壑清音》的
北調旦腳散齣，主唱者多飾神仙、鬼魂；若飾凡人，則多女將、女俠，或為機智
老婦，或受委屈的女性。《萬壑清音》之旦腳北唱選齣出自《焚香記》、《百花
記》、《櫻桃記》、《雙紅記》、《紅梅記》、《紅梨記》、《龍膏記》、《曇花

記》、《西遊記》等傳奇、雜劇。本文從《萬壑清音》所收旦腳北調折子戲探
入，觀察旦腳行當分化特點，分析北曲演繹之憂憤雪仇、陰魂調弄、仙佛濟度、
將俠展威等女性類型北唱的多重情懷。

By the late Ming dynasty, dramatic culture had reached a high level of
artistic maturity. Literati frequented theatrical venues, delighted in the leisurely
appreciation of music, composed and annotated dramatic works, and both evaluated
and documented the performances they regularly witnessed; these practices became
a widespread cultural trend. Writers such as Shen Defu, Qi Biaojia, and Zhang Dai
documented the close relationship between literati life and theatrical culture during
this period. Although the southern mode (nanqu) predominated in Ming drama,
certain literati expressed a strong interest in northern modes. He Liangjun, for
instance, admired archaic northern tonal styles, thereby granting northern musical
forms renewed cultural signifi cance within the Ming theatrical sphere.
The excerpt anthology, Wan Huo Qing Yin, compiled by Zhiyun Jushi, preserves
northern-mode excerpts staged on the Kunqu stage prior to the fourth year of the
Tianqi reign (1624). Northern-mode music is marked by forcefulness and tragic
intensity, producing a stirring, at times chilling, resonance that contrasts sharply
with the softness and mellowness associated with the southern mode. Within this

anthology, alongside role-specific zhezi plays for chou, jing, wai, mo, and sheng,
a notable differentiation emerges within the dan category. This reflects an early
structural articulation of dan role types in northern-mode Kunqu performance, where
distinctions among dan, tiedan, and laodan appear as increasingly independent
performance identities.
In this repertoire, the musical style is vigorous, impassioned, and sonorous.
The dan characters who assume principal vocal roles frequently portray immortals
or spirits; when representing mortal women, they often appear as female generals,
chivalric heroines, shrewd elderly women, or figures subjected to injustice. These
excerpts derive from chuanqi and zaju works such as Fenxiang ji, Baihua ji, Yingtao
ji, Shuanghong ji, Hongmei ji, Hongli ji, Longgao ji, Tanhua ji, and Xiyou ji.
This study examines the northern-mode dan zhezi plays included in Wan Huo
Qing Yin, focusing on the differentiation and characteristics of dan role types.
It analyzes the multiple emotional dimensions embodied in these performances,
including grievance and vengeance, spectral playfulness, spiritual salvation, and
martial assertion. Through this lens, the article illuminates the distinctive expressive
qualities of female voices within the northern-mode performance tradition of Kunqu.