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.