「第九研究室」是張清徽先生在臺灣大學中文系的研究室，張先生自1951年於臺大任教，四十餘年潛心於韻文學之研究與教學，本文旨在探討張先生韻文學研究之成果，著重於其開創性論題及對後學之影響，分從「南曲劇種研究的先導」、「戲曲研究進路的拓展」、「劇作批評範式的建立」、「韻文俳優體研究的開創」四方面進行討論。其一，張先生渡海來臺，為南曲劇種研究導其先路，勾勒南戲、傳奇、南雜劇的劇種特質與發展面貌，提供後學對南曲劇種的概要認識，尤其南雜劇研究更開啟對明代雜劇新變的探討。其二，早期戲曲研究以文獻考據為主要進路，又有研究歌唱樂律的曲律之學，張先生則強調戲曲以搬演為藝術權衡之依歸，並建構完備的傳奇排場理論作為權衡之標準，開啟以舞臺性為取向的新研究進路，並促進戲曲排場理論的發展，影響所及，排場分析成為判斷戲曲舞臺藝術的重要方法。其三，張先生秉持以舞臺性為核心的批評觀點，針對南戲、傳奇名作加以論析，在評論角度與論述架構上建立後學可依循的範式。其四，張先生對韻文俳優體進行一系列研究，分析俳優體之所以生發創造的本質因素與變化原理，繼之分論詩、詞、曲中之俳優體，建立分類架構，比較異同。此系列研究為張先生所開創，後來的研究者將其研究成果轉化運用於不同課題，激發新的學術探索。張先生的韻文學研究以開創性的視野與紮實嚴謹的治學態度樹立典範，帶給後學豐厚的滋養與啟迪。

The Office No. 9 is Prof. Chang Ching-hui’s office at the Department of Chinese Literature, National Taiwan University. Prof. Chang started her teaching at National Taiwan University in 1951 and devoted herself to the study and teaching of Chinese verse literature for over forty years. This article discusses Prof. Chang’s achievement in Chinese verse literature studies and focuses on her innovative perspective and influence on later researchers from the following four aspects: “Precursor to the Study of Nanxi Types,” “Developer of Approaches to Xiqu Studies,” “Creator of Drama Criticism Models,” and “Founder of Paiyou Verse Studies.” First of all, after Prof. Chang came to Taiwan from mainland China, she paved the way for the study of nanxi types by outlining the characteristics and developments of nanxi, chuanqi, and southern zaju. She provided later researchers with a general understanding of nanxi types and started the investigation into the new change of zaju in the Ming Dynasty particularly with her southern zaju studies. Secondly, the main approach that the early xiqu studies adopted was kaoju or textual criticism along with the study of metrical principles of music and singing. Prof. Chang, however, emphasized that the artistic evaluation of xiqu should depend on their staging and formulated a comprehensive theory about the paichang or mise-en-scène of chuanqi as the standards of evaluation. Consequently, she opened a new stage-based study approach and fostered the development of the mise-en-scène theory of xiqu. Since then, mise-en-scène analysis has become a major method to assess the stage art of xiqu. Next, upholding a critical perspective of the staging quality as the core, Prof. Chang analyzed nanxi and chuanqi masterpieces and thus created the models of critical angles and discourse frameworks that can be followed and used. Lastly, Prof. Chang conducted a series of studies on paiyou verses which analyzed the essential factors and principle of change for the birth of the paiyou form. Furthermore, she examined the paiyou form in poetry, ci, and qu respectively so as to categorize the form and compare their differences. Originated by Prof. Chang, this series of studies and their results have been transformed and applied to different topics of study by later researchers, inspiring new scholarly explorations. With her groundbreaking scope and rigorous scholarship, Prof. Chang and her Chinese verse literature studies have been an academic epitome that brings forth rich nourishment and enlightenment to later researchers.