本文試圖從生命經歷、生命記憶觀點切入，連結起白樸之生命及其劇作《牆頭馬上》，剖析《牆頭馬上》反映出的白樸思想及時代對他的影響。其次，在分析《牆頭馬上》之情節結構方面，從元明理論談起，從元雜劇的體制限制入手，分別探討劇本情節之布設、戲劇衝突、結局和劇本定位三部分。王國維雖稱元雜劇「關目之拙劣，所不問也」，但就《牆頭馬上》而言，該劇之情節結構及戲劇衝突亦有可觀處；又前人從「喜劇必有衝突，以此衝突導向美好前景」的觀點，將《牆頭馬上》定位為喜劇，卻忽略了中國傳統戲曲中所偏重之抒情本質，主角李千金所遭遇的磨難極苦，本文認為將《牆頭馬上》定位為喜劇或可斟酌。又次，本文嘗試從教育社會學、社會學、家庭倫理學之觀點，探討劇中之人物塑造，企圖探究白樸思想、元代社會，進而中國傳統思想之價值觀。藉全文論述定位「金末元初」時空下的白樸，以及白樸其人和其作品《牆頭馬上》跨越時空所留下的印記與價值。; My thesis is divided into two major parts: First, Bai Pu's life and its connection between the social context of the period he lived in. Having witnessed the demise of Jin Dynasty, Bai Pu was never an official during Yuan Dynasty. Instead, his lifelong dedication to poems and the joys of wine drinking demonstrate his reserved, dignified and non-worldly spirits. Then, it brings us the study of Bai Pu's script titled Pei Shaojun and Li Qianjun. Li Qianjun was the heroine and the daughter of a prominent official. As her love-at-first-sight affairs between Pei Shaojun and Li Qianjun unfold, the script honors the idea of women's pursuit of love and marriage as a free individual, which also discloses the impact of Chinese traditional “patriarchal society” on the men and women in that period of time.
The thesis attempts to look into Bai Pu's life experience and memories, and in turn connects his life and the script Pei Shaojun and Li Qianjun, finally examines his ideas and the time's influence over him as a scholar. Next, based on the theories of Yuan Dynasty and Ming Dynasty, as well as the formal limits of the Yuan Dynasty form of musical comedy, the paper analyses the plot deployment. It looks into the setup of the storyline, dramatic conflicts, ending and positions of the play. When commenting on comedies, the distinguished Chinese scholar, writer and poet Wang Guowei mentioned “the integrity of storyline is of little significance”, but the script's story arrangements, structure, and effects are well orchestrated and worth discussing. Also, the previous consensus held “a comedy is inevitably prone to conflicts, and thereby leads to a happy ending.” Based on this, people labeled Pei Shaojun and Li Qianjun as a comedy. However, they overlooked the emotion-inducing qualities the script owns, which happen to be much-valued indicators of Chinese traditional musical plays. The heroine experiences a great deal of ordeals in her pursuit of love, so the fact that the thesis positions the script as a comedy is subject to discretion. Last, the thesis tries to analyze the making of characters from the viewpoints of educational sociology, sociology, and family ethics. By doing so, it lends more clarity on Bai Pu's idea, the social context of Yuan Dynasty, and finally the values of Chinese traditional beliefs. The thesis aims to render a clearer profile of Bai Pu in the context of late Jin Dynasty and early Yuan Dynasty, and most importantly, the timeless impressions and values Bai Pu himself and his works have left to generations.