在現存的《琵琶記》評本中，清初評點家毛聲山、毛宗崗父子合評的《第七才子書琵琶記》，是一部極為細緻繁密的戲曲專書，在戲曲批評史上，具有某種特殊的代表性意義，值得我們詳加論述。首先，他們將原本存在於儒家「以性絜情」的性情論，在戲劇審美的認識上，作了一種「如何方能更深層地發揮人性，從而達到一種動人的優美」之解說。這種可以表述為「性見乎情，情性而雅」的「情雅」之說，使原本單純屬於「意旨」的道德意識討論，能與劇中人物之動態的「情性因素」結合。其次，透過對於劇中精心設計的孝子、義夫、貞婦、淑女之情性表現的提示，聲山對於道德典範在倫理實踐過程中所可能遭逢之困境，亦作出前所未有的反思；以此為基礎，聲山特為標出作劇「步驟不可失，次序不可闕」的文本構造論，來闡釋劇中倫理網絡、倫理衝突之開展，與情節結構設計之關連。再次，聲山劇論中，還進一步提點出《琵琶記》中「以歡伏悲，無結為結」的戲劇觀點，與「倫理劇應如何藝術化」的問題。此外，我們若透過以上針對全劇意義層次中「倫理框架」與「事理框架」的考察，則尚可進一步思考高明創作《琵琶記》一劇之「託義框架」，並對毛氏父子之批點，在《琵琶記》之批評史與批評語境中，所具有的意義與價值進行思考。總之，對於毛氏父子來說，觀劇之動人，不在接觸事之外相，亦不專在感受藉以傳達事相之藝術形式，而在持續經歷劇情感染的同時，或其後，所引致的意義之領會。

Among the extant commentaries on the play Pipa ji (The Lute), the one produced by the early Qing critics Mao Shengshan and his son, Mao Zonggang, is given credit for its comprehensive and insightful treatment of the play. Their text is of significance in the history of Chinese dramatic criticism, especially that of the late Ming and early Qing, a period of major aesthetic transformations. Their commentaries are noteworthy in several respects. First of all, the Maos made a new interpretation of the meanings of qing (emotional sensibility) and xing (nature); whereas the Confucians advocated “regulating qing by xing,” the Maos theorized about the possibility of “presenting xing through qing.” Their commentaries explained the moral teachings of the playwright in terms of narrative techniques and dramatic construction: moral consciousness is hence tied to the representation of the characters. Secondly, through a well-thought-out concept of character types, Mao Shengshan provided an unprecedented reflection on dramatic structure and human dilemmas in ethical practices. It is an exposition that stresses timing and sequencing. Thirdly, Mao Shengshan proposed a schematic view of textual construction in which the relationship between the ethical purpose, the development of ethical conflict and the structural design of the play can be identified and fully discussed. In addition, Mao’s readings brought to light important issues such as how to make ethical drama artistic. Finally, after examining the ethical framework and the episodic framework of Pipa ji, we may contemplate the allegorical framework of the play. We will come to understand the playwright’s purpose in writing the play and the significance and value of the Maos’ commentaries in the critical tradition of Pipa ji.