清代乾隆年間曲家葉堂刊行之《納書楹四夢全譜》，乃首次為湯顯祖《玉茗堂四夢》劇作訂定完備之崑曲工尺譜。其獨特之處，除宛轉相就不盡合律的《四夢》曲文；更由於該譜訂創兼重，可見葉堂如何「順文律之曲折，作曲律之抑揚」，力使曲樂穩稱曲情。本文的寫作，選擇以相同曲牌為切入點，藉由分析曲腔，彰顯葉堂殫精竭慮的各種創作構思，並由相同曲牌之間曲腔的異同，觀照曲樂活潑之特質。文中特為選取在相異情境中使用的相同曲牌，如【紅衲襖】、【皂羅袍】、北【寄生草】等，分析其曲腔變化，包括改變音域及音區、板式或節奏的差異、著意作腔、兩種曲調並行等詳細作法，並綜論曲牌行腔與固定曲調之關聯。

NaShuYingSiMengQuanPu(《納書楹四夢全譜》)was published by composer Ye
Tang(葉堂), during the reigns of Qianlong Emperor(乾隆) in the Qing Dynasty. It was the first completed Kunqu(崑曲) Gongche notation(工尺譜) for the play of Simen(四夢), written by Tang XianZu (湯顯祖). This paper analyzes the same labelled melody(qupai)(曲牌) used in different scenarios, including HongNaAu（【紅衲襖】), ZauLuoPau(【皂羅袍】), JiShengCau(北【寄生草】), and others. The changing singing-style of the same labelled melodies was discussed, including the changing range and register, differences in the rhythm, intentional emphasis on some parts of the singing-style, and two concurrent melodies. The relationships between the singing-style of labelled melodies and fixed melodies were also discussed.