Kong Shangren’s The Peach Blossom Fan (桃花扇) is a semi-satirical historical fiction kunqu style love opera set during the Manchu invasion in 1643-1645, though it was written much later in 1699. The story is fundamentally didactic; by abandoning convention, Shangren couches a serious message in the period equivalent of a romantic comedy. He shows a world collapsing around a pair of lovers (who ultimately fail), constantly hammering a single thesis: you are always better off knowing the truth, no matter how terrifying the potential consequences. Self delusion inevitably leads to catastrophe.

This is a pretty obvious observation; even for the 17th century. The brilliance of the work is how effectively Shangren captures the way in which even virtuous individuals – either through fear, adherence to predilections, or a desire for normalcy are self-convinced into an illusory existance, and led to ruin.

Southern Ming officials maintain their idyllic lifestyles by turning Nanjing’s imperial court into a replica of the recently fled palace in Beijing – and fill it with the same pleasures and distractions – including an intense interest in opera and theater. An opera within the opera urges the very same rulers to “stop living a fantasy at the opera, and confront reality.” The obvious irony was hopefully not lost on theater watchers at the time.

As a result of such distractions, the southern Ming are unable to mount an effective resistance against the Manchu invaders. Indeed, the perceived danger pushes some of them further into a fantasy world. Shangren is very clear about the consequences, though never so explicit to condemn the Manchus (a pragmatic move, since they were firmly in control of most of the country by the time he was writing). Historical estimates place the Chinese death count at approximately 25 million, a staggering number for the period.* 

Curiously, Shangren never demonstrates that a path to salvation exists – defining only the events that lead to collapse. The few heroes in the work are either killed or go into self imposed exile, remaining loyal to the non-existent Ming authority.

The epilogue showcases three such exiled officials, sought out by a Manchu messenger who explains that a severe lack of bureaucratic talent within the new Qing administration is leading to food shortages throughout the country. The exiles respond only by saying their escape was not thorough enough, and flee – denying a world desperately in need of their abilities. By this point, the only heroic trait remaining in any of the characters is this form of blind, objective loyalty – with a final suggestion in the last aria that even such a virtue can contribute to delusion. Referring to the newly adopted peasant lifestyles of former rulers, Shangren writes:

Fisherman and woodcutter

Chatting of the past,

Each to each recalling

Dreams that did not last 

* England’s population in 1650 was ~5.5 million, China’s population is estimated at ~110 million before the invasion.