在宋玉传世的19篇作品中，收录于《楚辞章句》中的《九辨》、《文选》的《风赋》《高唐赋》《神女赋》《登徒子好色赋》《对楚王问》及《古文苑》的《笛赋》《大言赋》《小言赋》《讽赋》《钓赋》等11篇作品，基本为学术界大多数学者所认可。本文着重是对宋玉赋的源流进行探讨研究，所以除体例归属“楚辞”的《九辩》不属本文研究对象外，其它各篇均在笔者的研究范围之内。本文拟从追根溯源的角度，通过对宋玉身份的界定、宋玉赋文体特征的归纳与分析，找寻宋玉赋文体形成的原因及其本源，着重探究宋玉之赋与优语之间的渊源。论文全文由三部分组成。第一部分着意于通过对宋玉身份的辨析界定从而为后文中宋玉赋源自优语的中心论点，寻找理论与史料依据。通过论证宋玉类于俳优的身份，从而夯实宋玉之赋源于优语的基础；第二部分重在分析优语的特点，论述优语这种特殊的话语方式所表现出的文学性，及其对宋玉赋产生的影响；第三部分是对宋玉赋的文体特征进行归纳分析，从中找出其与优语的承继关系和相类的特征。

Of the 19 handed-down works by Song Yu, 11 of them, including Jiu Bian in Chu Lexicons and Proses, Wind Fu, Gaotang Fu, Goddess Fu, Lecher Fu and Answers to the King of Chu’s Questions in Selected Works, and Flute Fu, Dayan Fu, Xiaoyan Fu, Satire Fu, and Fishing Fu in Ancient Prose Garden, have been basically approved of by most of the academia. This thesis is to carry out discussions and researches into Song Yu’s fu, specially the above mentioned 10 works, except Jiu Bian, which, though in Chu Lexicons, is not to be discussed.This thesis plans to ascertain the causes and sources of the formations of Song Yu’s styles, and especially probe into the origins and connections between Song Yu's fu and Fous’ Speech through the agency of the correct identification of Song Yu and the summary and analysis of the stylistic features of Song Yu’s fu. The thesis is made up of three parts. Part one emphasizes the theoretical and historical materials to certify the view that Song Yu’s fu is deprived from Fous’ speech by the identification of Song Yu’s identity. By analysis of the similar identity of Song Yu as a comedian, the author makes a foundation to prove the main view that Song Yu’s fu is deprived from Fous’ speech. Part Two focuses on the features of Fous’ Speech, and illustrates the literalness embodied in the Fous’ speeches, and the influence on Song Yu’s fu. Part Three sums up and analyzes the stylistic features of Song Yu’s fu, and finds out the similar characteristics and adopting relations with Fous’ speech.