推荐回答（2个）
元代的散曲作家，约有两百多人，存世作品小令三千八百多首，套数四百七十余套。以元仁宗延年间为界，分为前后两个时期。前期的创作中心在北方。元前期作家依其社会身份，可分为三类。
1．第一类是书会才人作家。以关汉卿、王和卿为代表，具有强烈的叛逆精神和追求自由的生命意识，创作题材多涉及男女恋情。这类散曲以关汉卿的[南吕·一枝花]《不伏老》、王和卿的[仙吕·醉中天]《咏大蝴蝶》最为出名。
2．第二类是平民及胥吏作家。他们向往实现传统文人价值，但在现实生活中屡屡碰壁，因而叹世归隐就这类作家创作的主旋律，以白朴、马致远等人为代表。尤其是马致远，被誉为“曲状元”，也被视为散曲豪放派的代表作家。他的小令写得俊逸疏宕，别有情致。如脍炙人口的[天净沙]《秋思》：“枯藤老树昏鸦，小桥流水人家，古道西风瘦马。夕阳西下，断肠人在天涯。”仅28字就勾勒出一幅秋野夕照图，特别是首三句不以动词作中介，而连用九个名词勾绘出九组剪影，交相叠映，创造出苍凉萧瑟的意境，映衬出羁旅天涯茫然无依的孤独与彷徨。全曲景中含情，情景交融，隽永含蕴。周德清《中原音韵》赞其为“秋思之祖”，王国维《人间词话》说它“寥寥数语, 深得唐人绝句妙境”。
3．第三类是达官显宦作家。他们的作品多表现的是传统的士大夫思想情趣，在艺术上偏于典雅一路，俚俗的成分较少。这一类作家以卢挚、姚燧为代表。卢挚的[双调·沉醉东风]《秋景》、姚燧的[中吕·醉高歌]《感怀》等均具有较高的艺术鉴赏价值。[2]
9元后期
与前期散曲作家多为北方人不同，后期散曲作家的主体基本由南方人构成，因而散曲的创作中心也由北方转移到了南方。后期散曲创作风貌有了较大的变化，题材不断被开阔，表现领域得到极大扩张，使诗坛出现了诗、词、曲并立的格局。哀婉蕴藉的感伤情调代替了前期的激情喷发，逐步成为散曲创作的主流，风格从前期的豪放为主转为清丽为主。
这一时期成就较大的作家有张可久、乔吉、睢景臣等，代表作品有张可久的[黄钟·人月圆]《春晚次韵》、乔吉的[中吕·满庭芳]《渔父词》等等。
这一时期重要作家还有张养浩，他的散曲多寄情林泉，但也不乏关怀民众之作。如[中吕·山坡羊]《潼关怀古》：“峰峦如聚，波涛如怒，山河表里潼关路。望西都，意踟躇，伤心秦汉经行处，宫阙万间都做了土。兴，百姓苦；百姓苦。”此曲为张养浩晚年在陕西赈饥时所作，它最为人称道的，是能一针见血地揭示出封建社会的历史本质：“兴，百姓苦；亡，百姓苦。”这八个字，鞭辟入里，振聋发聩，使全曲闪烁着耀眼的思想光辉。
但到后期，散曲作家竭力雕琢词句，追求典雅工整，向诗词的写法靠拢，散曲便失去了鲜活灵动的特色，走向衰微。[2]
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