Ban sheng yuan, from the re-edited version to the adaptation of the later age, is the process of constant revision. From Shi ba chun to Ban sheng yuan, the author takes out the outer cause of political history and returns the story to the inner exploration of love life. When the screenwriter and director in the later age adapt this novel for play or film, they adjust it through their screen writing experiences and learn from other adaptation results. In Ann Hui's movie Qing cheng zhi lian, it emphasizes the era background and the outer environment on purpose. While in Ban sheng yuan, it turns to emphasize the emotions and inner feelings and imply the unique sights by way of the cinematographic language. The interaction between Edward Lam and Ann Hui is subtle. Besides, Edward used to be the screenwriter of Mo Zeon-fai's play Xin Qing cheng zhi lian. Therefore, when adapting Ban sheng yuan, for play, he not only learns from his previous experience but also seeks for the change in form and endows it with the diverse modern meanings. The adapted play and film change the complex texture to the plain plots, weaken the era background and yet try best to capture the feeling of the fleeting of time. Compared with the core of Chang's novel, the soap opera version totally runs in the opposite direction and tends towards the Ching-Yau style. The styles in three film and play adaptations are totally different, but they all move the core of the original around, focus the story on the romantic love and the sadness of loss and avoid or delete the feeling toward the protagonist in having no choice but to accept the secular reality.