;Xu Wenzhao’s “Fengyue Jinnang” from Shulin Zhan’s Jinxian Tang reprint in Guichou Year of Jiajing in Ming Dynasty (1553) plays as an important opera anthology of Nanxi (southern opera). In this study based on previous researches about “Fengyue Jinnang”, the researcher investigates further the opera-selecting disciplines with comparisons of selected opera from “Fengyue Jinnang” and other opera in Ming Dynasty. After an introduction in Chapter one, the researcher describes “Fengyue Jinnang” with perspectives from the categories, stylistic rule and layout in Chapter two. In the following Chapter three, the researcher observes the editor’s selecting purport by investigating content of popular Sanqu (literary song) in the complementary first volume of “Fengyue Jinnang” and further explores the selecting principle by analyzing techniques of expression in the opera. Later, in Chapter four, comparisons between selected opera and others in Ming Dynasty show conditions and principles adopted in the selection of “Fengyue Jinnang”. Being based on the selecting principles, observations of other selected drama scripts are expected to bring a comprehensive understanding of the selection. In Chapter five, the investigation goes through two sections: drama script construction and its performance of “Fengyue Jinnang.” Regarding to the construction, based on how the Nanqu (southern music) influences the Beiqu Zaju (variety opera with northern music), whether the selected Nanqu opera in “Fengyue Jinnang” have stepped into Chuanqi (a form of Chinese opera) or still remain the initial Nanqu- form. As for the performance, the mill block-printed edition of “Fengyue Jinnang” in Wanli Years in Ming Dynasty has become closet drama scripts by the intellectual. Also, “Fengyue Jinnang” as an important drama script anthology in stage performance, scripts differences between the selected and mill block-printed are investigated in this chapter. At the end, a conclusion comes in Chapter six.
