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明清两朝，文人与民间戏剧互有消长，但在总体上呈现两条路线并行的发展态势，而这种发展态势是由客观上存在文人与民间两个审美群体及两种不同的戏剧观所规定、制约的。文人作为知识阶层有着强烈的社会使命感，艺术的教化功能是他们所强调的，但他们对民间的审美和伦理观却予以斥责。明清文人创作普遍有骈绮雕琢倾向，在对戏剧的审视评价上，采用平面的、与诗词文赋一样的文学标准；而民间戏剧是一种质朴艺术，它不像文人那样重视戏剧文本，但灵活的现场发挥，更能激发演员的想象力、创造力，更能营造现场的演出气氛，也更符合戏剧的行为规律。
In the Ming and Qing dynasties, literati and folk drama had their own growth and decline, but on the whole, they showed the trend of parallel development of two lines. This trend of development was caused by the objective existence of two aesthetic groups of scholars and folk and two different theatrical concepts Prescribed The literati, as the intellectual class, have a strong sense of social mission. The enlightenment function of art is emphasized by them. However, they criticize the aesthetic and ethical view of the people. In literary creation of Ming and Qing dynasties, there is a general tendency of carving and carving. In the examination and appraisal of drama, the same literary standards are used as those of poems and poems. Folk drama is a rustic art. It does not pay much attention to dramatic texts, However, the flexible site to play, but also to stimulate the imagination of actors, creativity, better create a live performance atmosphere, but also more in line with the laws of drama.