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尽管《元曲选》是目前流传最广的元杂剧本子，它同时也是最晚近和改动最大的本子。元代的杂剧是一种比较简单的戏剧形式，以正旦或正末的演唱为主。而唱词有时十分直露和粗俗。杂剧一旦被明代统治者改编为一种宫廷娱乐，就发生了许多本质上的变化，意识形态的压力迫使许多剧本要重写，严格的审查制度使剧本的全部内容必须都以书面形式写出来，而戏剧演出环境的变化加强了杂剧的戏剧性。在万历年间出现的元杂剧版本正是这些改编和压力的结果。其后，《元曲选》的编者又将这些宫廷演出本改编为江南文人书斋中阅读的案头剧本。因此，可以说这些剧本从商业性的城市舞台，经过宫廷官宦机构，最终流入学者书斋。而只有在进入书斋之后，戏剧才成为固定的供阅读和阐释的文本。因此，我们今天所读到的“元”杂剧文本实际上与元代的演出脚本已经相去甚远。
Although “Yuan Opera” is the most widely circulated Yuan Zaju at present, it is also the latest and most changed book. Yuan drama is a relatively simple form of drama, with positive or positive end of the concert-based. The lyrics are sometimes very straightforward and vulgar. Once the zaju was adapted into court entertainment by the rulers of the Ming Dynasty, many essential changes took place. The pressure of ideology forced many scripts to be rewritten. The strict censorship system made the entire contents of the script written in writing. The change of theatrical performance environment has strengthened the dramatic drama. Yuan Dynasty drama appeared during the Wanli period is the result of these adaptations and pressures. Since then, the editors of “YuanQuXuan” have also adapted these court performances to the desk-top scripts read by the literati of Jiangnan. Therefore, we can say that these scripts flow from the commercial stage of the city to the official court after the palace court. And only after entering the studio did drama become a fixed text for reading and interpretation. Therefore, the “Yuan” zaju texts we read today have actually gone a long way from the performance scripts of the Yuan Dynasty.