The book is divided into five chapters. Chapter I briefly introduces the comprehensive characteristics of ancient traditional Chinese opera; Chapter II discusses the role of talking and singing literature as a bridge between Chuanqi plays in the Tang Dynasty and traditional Chinese operas in the Yuan and Ming Dynasties. Chapter III, Chapter IV and Chapter V respectively discuss the inheritance and variation of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties. The whole book mainly focuses on the proposition of the acceptance of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties. Through discussing the role of talking and singing literature as a bridge between Chuanqi plays in the Tang Dynasty and traditional Chinese operas in the Yuan and Ming Dynasties, the book reveals the specific process of the acceptance of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties and discusses he inheritance and variation of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties and its cause.

The book is divided into five chapters. Chapter I briefly introduces the comprehensive characteristics of ancient traditional Chinese opera; Chapter II discusses the role of talking and singing literature as a bridge between Chuanqi plays in the Tang Dynasty and traditional Chinese operas in the Yuan and Ming Dynasties. Chapter III, Chapter IV and Chapter V respectively discuss the inheritance and variation of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties. The whole book mainly focuses on the proposition of the acceptance of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties. Through discussing the role of talking and singing literature as a bridge between Chuanqi plays in the Tang Dynasty and traditional Chinese operas in the Yuan and Ming Dynasties, the book reveals the specific process of the acceptance of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties and discusses he inheritance and variation of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties and its cause.

The book is divided into five chapters. Chapter I briefly introduces the comprehensive characteristics of ancient traditional Chinese opera; Chapter II discusses the role of talking and singing literature as a bridge between Chuanqi plays in the Tang Dynasty and traditional Chinese operas in the Yuan and Ming Dynasties. Chapter III, Chapter IV and Chapter V respectively discuss the inheritance and variation of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties. The whole book mainly focuses on the proposition of the acceptance of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties. Through discussing the role of talking and singing literature as a bridge between Chuanqi plays in the Tang Dynasty and traditional Chinese operas in the Yuan and Ming Dynasties, the book reveals the specific process of the acceptance of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties and discusses he inheritance and variation of Chuanqi plays in the Tang Dynasty by traditional Chinese operas in the Yuan and Ming Dynasties and its cause.