「高文舉故事」始自形成，便以多元樣貌流播於各地聲腔，依據本文所較析的四個版本，彼此間存在著複雜關係，或有獨立發展者，如南管戲《高文舉》，或有屬古本系統者，如《水雲亭還魂記》，或有保留南戲原貌者莆仙戲《高文舉》，乃至於集大成者「文林閣本」《高文舉珍珠記》。南戲《高文舉》已亡佚，其中以《高文舉珍珠記》之影響最為深遠。「高文舉故事」主要情節有三：「珍珠米糷」、「還魂訴冤」、「包拯斷案」。在「文林閣本」與「莆仙本」皆有「珍珠米糷」、「龍圖斷案」，而「還魂本」有「玉真還魂」、「龍圖斷案」，至於「南管本」則一概具無，可知「南管本」在高文舉故事流變過程中之獨特性。本文主要針對各版本間之「關目情節」、「曲文賓白」等詳實比勘，剖析「高文舉」在不同聲腔劇種間之承繼與創新，並試圖重構各地聲腔在「高文舉」演化過程中之地位與價值。

Gao Wen Jyu of southern opera has been disappeared and present versions include Zhen Zhu Ji (Yi Yang tune), Gao Wen Jyu of Southern Pipes (Quan tune), Gao Wen Jyu of Pu Xian (Hsin Hua tune) and Revival After Death of Shui Yun Pavilion (Qing Yang tune). Among others, Zhen Zhu Ji is the most influential one. The plots such as “Window Meeting” and “Zhen Zhu Mi Lan” are not only the selected Zhe Zi operas for the later generations, but also the adapted texts of local operas. Main plots of “story of Gao Wen Jyu” are below: “Zhen Zhu Mi Lan”, “Revival After Death to Appeal for Justice” and “Master Pao’s Judgment”. Zhen Zhu Ji and “version of Pu Xian” include “Zhen Zhu Mi Lan” and “Master Pag’s Judgment”. “Version of revival after death” includes “Revival After Death of Yu Chen” and “Master Pao’s Judgment”. “Version of Southern Pipes” does not include the above. Hence, it shows the uniqueness of “version of Southern Pipes” in the evolution of “story of Gao Wen Jyu”. Varieties of plots result in the richness of “story of Gao Wen Jyu”. The process of spread reveals flexibility and regionality of local common systematic tunes and varieties of operas. This study will treat four versions of Gao Wen Jyu as the subjects to significantly compare and analyze the original stories and difference and similarity of related work. First, it explores present versions to recognize the evolution of the story “Gao Wen Jyu”; secondly, it precisely compares “plots” and “singing and talking” of the versions to analyze the inheritance and innovation of “story of Gao Wen Jyu” in different common systematic tunes and varieties of Chinese operas. It, on the one hand, clarifies the relationship and origin of different versions of “Gao Wen Jyu” and, on the other hand, probes into cultural characteristics of “time” and “region” of operas; finally, it attmpets to reconstruct the positions and values of common systematic tunes in different regions in the evolution process of “Gao Wen Jyu”.