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何良俊的戏曲观是庞杂而富有创新意味的,在戏曲史论上,他沿袭了雅正的“声与政通”的观点;在戏曲语言论上,他提出两个判断标准:“本色和当行”“俊语”;在音律论上他发扬元人周德清的以中原音为正声的观点,并且认同杨慎关于音韵的见解。笔者发现,他的戏曲观虽包含有浓厚的“雅正”气息,但又能博采众长推陈出新,其中蕴含清晰的脉络,对后世的戏曲理论研究有很大的影响。
He Lianjun’s drama view is complex and innovative. In the history of opera, he follows the view of Ya Zheng’s “sound and politics”. In the theory of opera language, he puts forward two criteria: “the character And when the line ”“ Jun language ”; in the theory of temperament he carried forward Zhou Zaiqing Yuan Zhongyuan as a positive voice view, and agree with Yang Shen’s opinion on phonology. The author finds that although his concept of drama contains a strong flavor of “Ya Zheng”, it can draw upon the masses and introduce new ideas, which contains a clear context that has a great influence on the later theoretical study of opera.