本文先針對元刊雜劇《薛仁貴衣錦還鄉》與《元曲選》本《薛仁貴榮歸故里》二劇進行比較，剖析其中內容與思想的差異；再嘗試從「元雜劇在明代」的背景角度，解讀改編者臧懋循的意識形態與讀者訴求，藉此討論元雜劇於流傳過程中產生的變遷與改編問題。`

This paper analyzes two versions of Chang Kuo-pin's張國賓tsa-chü 雜劇:"Hsüeh Jen-kuei, Clad in Brocade, Returns to his Home-Village" (Hsüeh Jen-kuei i-chin huan-hsiang薛仁貴衣錦還鄉) in the Yüan printing, and "Hsüeh Jen-kuei Returns in Glory to his Native Village" (Hsüeh Jen-kuei jungkuei ku-li薛仁貴榮歸故里) in the Yüan-chü Hsüan元曲選edition, showing their major differences in text and style. It also explores how the context of the Ming Court and Tsang Mau-hsün's臧懋循concept of reader-orientation affects his adaptation. This paper is a primary attempt at explaining the transition of Yüan tsa-chü元雜劇from the Yüan dynasty to the Ming.