敦煌變文中有一種全篇都由韻文構成，只唱不說的，稱為詞文。其中選出主要四篇〈大漢季布罵陣詞文〉、〈董永詞文〉、〈百鳥名〉、〈季布詩詠〉，它們都有一個共同的特徵，全篇是使用韻文來講述故事，張鴻勛先生在《敦煌說唱文學概論》中言：「詞文是我國古代民間敘事歌謠不斷更新發展而形成的長篇敘事詩。」唐代以後以七字為主的體式，這一類弘偉的敘事詩，溯其源從我國古代民間敘事詩，它也影響到同時代韋莊〈秦婦吟〉等的文人敘事詩，另外更是成為後來寶卷、彈詞、鼓詞的先聲。故試從敘事藝術上加以比較分析，希望能瞭解這四篇詞文，敘事技巧的強弱與敘事方式的變化為何?從而瞭解敦煌詞文對文人敘事詩的影響。

Dunhuang bianwen has a full chapter by verse composition, just to sing do not say, called rd Tze-wen. Which elected the main four “Dahan Chi-Pu-Ma-Chen Tze-wen”, “Dong Youg Tze-wen”, “birds were”, “Chi-Pu poem chants”, they all have one common characteristic, was full of the use of verse to tells the story of Mr. Zhang Hongxun in the “Dunhuang Rap Introduction to Literature” in the words: “Tze-wen is China's ancient folk ballad constantly updated development of the formation of a long narrative poem.” After the Tang Dynasty to The seven-oriented-bodied, this type of Hongwei's epics, be traced back to source from China's ancient folk epic, it also affects his contemporaries Wei Zhuang “Qin Yin women” writers such
as narrative poems, also is a later Baojuan, storytelling, Gu Ci of rebellion. So try to be from a comparative analysis of narrative art, hoping to understand the word four Tze-wen of narrative techniques and narrative strength of changes in the way that? To understand Tze-wen of the Dunhuang scholar of narrative poetry.