現存<貨郎旦>劇本僅存脈望館鈔校本與賊懋循<元曲選>本兩種本子，雖 兩本同出一源，像出明代宮廷御戲監，但<元曲選<本在戚懋循的改編下，固然 情節並無太大差異，兩個本子的結局處理卻大相逕庭。脈望館本以【九轉貨郎兒】 的表演藝術為主，而草草作結，顯然不甚重視劇本的完成度﹔ <元曲選>本則關照 到劇本故事的完整性，增添了春郎直接為母復仇的情節，亦加強了勸善警世的意 味。本文從觀察兩本<貨郎旦>的腳色分配變動出發，探討兩個劇本中惡人形象 的差異， 再論戚懋循藉扮演角色的腳色行當改換作為改編手段，以加深惡人的角 色形象來加強善惡對立， 以完成既「父子團圓」又「得報母仇」的完美大團圓， 反讓脈望館本中隱微的勸世意味被強烈地突顯出來，形成兩種截然不同的風格。

The only remaining Huolang Dan (貨郎且) scripts 訂e the Mowangguan Chaojiaoben Gujin Zaju （脈望館鈔校本古今雜劇） and Zang Maoxun's (賊懋 循)yuanqu Xuam（元曲選）. Although bo也scripts come 企om the Ming palaces and their plots are largely the same, due to Zang Maoxun's adaptations, the endings are quite different. The Mowangguan Chapiaoben is based upon the performing arts tradition known as the Mine Tum Peddlers＂（九轉貨郎見）. Clearly, little attention was given to how the script concluded. In contrast, the plot of the Yuanqu Xuan was made to be full and complete: the character Chun Lang (春郎)was added to provide revenge upon the mother, strengthening the moral overtones of the play. This paper examines variations in the classical roles (jiaose 腳色) between these two plays, especially concentrating upon the differences between the villains. Through this, we can see how Zang Maoxun enhanced the role of the villain in order to strengthen the opposition between good and evil, thereby achieving a perfectly happy ending” with both "father and son reunion" and ”revenge against the mother’” two very different modes.