張紫東(1881-1951) ，為構築蘇州補園(今拙政園西部)的張履謙之孫，張氏家族雅愛崑曲，聘請俞栗廬為西席，紫東隨其習曲，後與貝晉眉等創辦崑劇{專習所，遞續崑曲的傳承與演出。張氏家族除習唱外，亦喜抄藏曲本，流傳後世的文獻有二類:一為名家手折，一為曲本選輯，兩者皆具曲文、賓白、工尺譜，但用途有別:手折重在實用，便於唱曲時攜帶;選輯則重在收藏，計911齣，題為《崑劇手抄曲本一百冊》本文探討的方向有二:一為曲本傳抄時間及藏曲意義，二為曲本收錄特色及文獻價值。曲本的確切抄藏年代，由於張氏家族未撰序跋，僅能從其活動時間推知大概，然筆者據《異同集曲譜》小識，可知張家在光緒十九年(1893 ) 即已收羅600多齣，於職業崑班沒落之際，從參與傳唱到保存曲本，皆是以業餘曲家的力量存續崑曲。張氏家藏曲本的文獻價值，於手折是保存前輩名家的唱唸演法，且可見曲家記譜之講究;於《曲本百冊》則是搜羅豐富，有248齣至今未見刊行，且多收首尾完整的全本之作，涵蓋長久流傳的名作及當時新興的劇目，又保留淨台、開場戲、副末開場、齣目銜接提示等與實際演出相關的記錄。

Over the years there have been a multitude of plays written in the Kunqu Opera style; while some of these scripts have been highly valued as literature， not all of the scripts (or individual episodes / scenes within a play) were suitable for stage performance. Performing artists often had to make adaptations for the stage; some performers recorded these changes they made themselves or wrote down notes when leaming from their teachers. They also added musical scores on the margins， and thus， created “stageable"versions ofthe Kunqu scripts. The number of extant“stageable" scripts is small; fortunately， Zi-dong Zhang(張紫東)had a private collection of 103 Kunqu plays that is available to us today. Zhangwas a famous Kunqu performer in the late 19th and early 20th Century. His family had collected many“stageable" scripts for three to four generations， and eventually he compiled 103 plays (consisting of 911 episodes) into a 100-volume collection. His collection was later edited by an editorial board of Kunqu Opera Museum of China and was published in 2009. Separate from the collection， Zhangand his teacher Su-lu Yu(俞栗廬) (a Kunqu master)， also hand-copied some ofthe scripts， along with their own notes and musical scores， on pocket-sized booklets， and these mini booklets made it easy to carry around to rehearsals or concer的. Currently， 49 mini booklets are confirrned to have been hand-copied and stamped by masters YU and Zhang. This paper explores the significance of the transcription of Zhang's collection (along with the mini booklets) and its literary and historical values. For instance， many of the episodes in Zhang's collection cannot be found elsewhere; in fact， of the 911 episodes， 248 had never been published before， and some ofthem are even more precious because the literary versions ofthese episodes have been lost. Furtherrnore， the collection not only provides insights to the development of Kunqu Operain the late Qing Dynasty， but also offers contemporary perforrners musical scores and stage directions to recite or sing the lyrics and thus realize the productions on stage.