李玉擅長在劇作中創造高潮跌起的劇情波瀾，《一捧雪》、《人獸關》、《永團圓》、《占
花魁》為李玉早期具有代表性的名作。本文之正文共有四部分內容。第一，從「一、人、永、占」四劇劇情發展所及之地理方位作為彙整核心，繪製不分時代地圖，鳥瞰四劇劇情地圖之空間分佈，總論李玉在四劇中運用地名和地理方位的情形。其次，以四劇中劇情地圖位點分佈最開闊的《人獸關》為例，從劇情地圖的地理方位呈現重新審視戲劇情節，由地圖之具象位點深入分析戲劇情節和人物離合之情的差異。再者，就李玉開闊「一、人、永、占」劇本地理方位空間之創作技巧進行統整分析，總體而論，李玉擅長運用次要人物開展劇本的地理方位空間，以之呈現天下大勢，表現隱居文士關懷天下之情。第四，分析作者運用陰陽界域特殊空間的轉換以豐富劇場情境，運用地理名詞變換以豐富戲劇文學意象之要；並總論劇本以曲文詠唱展現蘇州、錢塘、西湖等名勝美景的細緻情韻，以及開闊地理空間內涵的意蘊。

Yipengxue , Renshouguan , Yongtuanyuan , Zhanhuakui are famous plays in
Li Yu’s early years, which demonstrate Li’s talent of creating dramatic and intense plots. The study will take an overall vision of above four plays to induce Li’s usages of geographic spaces and names. The second section will use Yipengxue’s geographic shifts as an example to analyze the play’s spatial viewpoints, for within these four plays, Yipengxue is the most dramatic one, and therefore has the richest geographic scenes. To conclude Li’s technique, the shifting spaces by minor actors expresses Li’s concern with the land and the people; the way Li switches geographic names between local sceneries like Suzhou, Qiantang, Xihu enhances the dramatic effects.