There were many dramatists in the early Ming Dynasty. According to the "Taihe Zhengyin Pu", there were 16 people including Liu Dongsheng, Wang Ziyi, and Jia Zhongming. However, except for Yang Jingyan's "Journey to the West" drama, which tells the story of Master Tripitaka's search for scriptures, which had an impact on the later mythological novel "Journey to the West", other writers rarely directly reflect reality or describe major historical events. It is the love dramas that they write most. , such as Liu Dongsheng's "Jiaohong Ji", Wang Ziyi's "Into the Peach Blossom", Jia Zhongming's "Tieguai Li Du, the Golden Boy and the Beautiful Girl", most of them do not escape from the clichés of the golden boy falling into the world and the guidance of Taibai Venus. As for Zhu You'a's (1379~1439) "Chengzhai Yuefu", which was famous for a while, it used a large number of operas about immortals celebrating birthdays and beauties appreciating flowers to embellish the lives of wealthy nobles, but the content was even less desirable. "Taihe Zhengyinpu" written by Ningxian Wang Zhuquan (1378~1449) and "Sequel to the Record of Ghost Book" written by Jia Zhongming are of great value to the study of Yuan and early Ming dramas. After the appearance of "Pipa Ji", the tendency of legendary plays to promote feudal morality became more and more serious. During the Chenghua period (1465~1487), Qiu Jun, a famous official in Neo-Confucianism, wrote "Wu Lun Quan Bei Ji", fictionalizing Wu Lunquan, What happened to the Wu Lun Bei brothers and his family shows how the characters in the play are determined to act in accordance with feudal moral dogma. Many lyrics and narrations in the play are full of feudal preaching, and the four chapters in the third chapter (the Golden Character Classic) are even written entirely with sentences from the Analects of Confucius. In the first chapter of "Wulun Xiangpao Ji", Shao Can claimed that "because he continued to take the new biography of Wu Lun, he marked the purple sachet", which can be said to be a copy of "Wu Lun Quanbei Ji". In addition, "Feng Jing Sanyuan Ji" writes that Feng Shang accumulated "yin virtues", moved God, and gave birth to a son who won three yuan in a row; "Shang Guan Sanyuan Ji" wrote that Qin Xuemei guarded the festival and cared for her orphans, and when she grew up, she even won three yuan. These are also stories that promote feudal morality and beautify bureaucratic landlords. work. In order to make dramas better serve the feudal ruling class, Ming Dynasty laws prohibited the dressing up of emperors, concubines, sages and sages on the stage to maintain the "dignity" of these feudal idols. "Filial Sons and Grandsons" plays promoted the superstition of cause and effect and feudal moral concepts for them ("Da Ming Law: Forbidden to Copy into Zaju Opera Laws and Orders"). Qiu Jun has a confession in "Fumo Beiji" of "Wulunquanbeiji". These three cardinal principles and five ethics are possessed by everyone and are prepared in every household. It's just that when people are in the world, they are attracted by material desires and obscured by selfish intentions. Therefore, some people are unfilial as sons and unfaithful as ministers... Sages came out to create scriptures, teach people to read, and make scriptures. Poems and books, teaching people to sing and recite them, are nothing more than persuading people in the world to make them all learn the principles of the five ethics. However, the scriptures discuss principles and are not as easy to move people's hearts as poems about one's temperament. I once met an old gentleman from ancient times who always said, "The poems of the ancients are now the songs of men." ...In recent times, dramas from the north and the south have been made and performed by people. Although it is not an ancient ritual, everyone can understand it when watching it. It is especially easy to move people's hearts and make people dance without realizing it. However, most of what he wrote were obscene lyrics and songs, focusing on the romances and grievances between women and girls. Not only was it not enough to influence people's hearts, but he corrupted customs. ...Recently, talented people have compiled a new drama about this play, called "Five Ethics". It is fully based on temperament and arises from righteousness. Because it is easy for people to understand, it is moved. By reproducing it, those who are sons in the world will be filial, and those who are ministers will be loyal... Although it is a pretense, it is the universal principle. This passage is the inheritance and development of Gao Ming's theory that "it is useless even if it is not about the moral character", and more fully reflects the view of the feudal ruling class at that time that they wanted to use drama to serve them. As the feudal economy continued to develop in the early Ming Dynasty, class conflicts were temporarily alleviated, which was also conducive to the formation and expansion of this dramatic perspective. In this way, for more than 100 years from the early to the middle of the Ming Dynasty, there has been a countercurrent in the theater world of "taking contemporary literature as southern opera". Like poetry, novels, etc., opera creation has been in a state of sluggishness for a long time.