First of all, true colors are used to clarify the relationship between art and life. In Xu Wei's view, there is a distinction between true colors and true colors in life, true colors are positive and true colors are double, and drama writers should "take true colors as the basis and attach importance to true colors" (The West Chamber). This is similar to Tang Xianzu's emphasis on "respecting the true colors" in "The General Theory of Burning Incense", which requires the life reflected by the art of traditional Chinese opera to be natural and true without carving. Later, some opera theorists in the late Ming Dynasty tried to reflect the characteristics of life and show their true colors from operas. Zang Maoxun pointed out that the creation of traditional Chinese opera must be "learning its dialect, learning its true colors, no overflow in the context and no falsehood in the words" (Preface to Yuan Qu), in order to reflect the diverse and complicated life artistically. Wang Jide also pointed out that the characteristics of China's traditional drama are "shaping things and feelings, caring for people" and "covering the original when seaweed is involved" (bending law). They combine the aesthetic standards of truth, simplicity and nature with the characteristics of traditional operas imitating life, and better interpret the connotation of true colors.
Secondly, true colors are the requirements for language. Xu Wei opposed the "literary style" of parody and pragmatic exclusion in legendary creation, and advocated that "every sentence is his own language", so he greatly appreciated the language of eating chaff, tasting medicine, building graves and portraits in Pipa, calling it "from the heart". In a word, he asked legendary writers to inherit the authentic, simple and natural language tradition of Southern Opera. Ling Mengchu also criticized two tendencies in legendary creation: taking algae painting as fun is neither fish nor fowl, just like mixing the arrangement of Tang poetry into the Yuefu of Han and Wei Dynasties such as Sang and Dong Yaoyao; It is ridiculous to take vulgarity as the tone and compare the slogans and crooked poems of the three-village pedant to ancient ballads such as "Resisting Flexion" and "Breaking the Earth". The natural language in his mind is "a mantra in the world" (Tan Qu is miscellaneous), "no makeup" and "natural".
True colors-drama language Zang Maoxun and Wang Jide both reflected the characteristics of life from the drama and discussed the true colors of drama language. Zang Maoxun said in the preface of Selected Songs of Yuan Dynasty that operas should describe all kinds of characters and events, and the language materials are much wider than poems, and the language in the subset of classics and Buddhism and Taoism can be chosen. However, it must be "taken out of context, appealing to both refined and popular tastes, and the series is seamless" in order to achieve the wonderful situation of "work without work" in Yuan Qu. In Qu Lv, Wang Jide said that "True Color" is easy to understand and advocated that "True Color" and "Wenzao" should be used together. However, Shi Wenzao, avoid; Use true colors and avoid being too vulgar. "The distinction between elegance and vulgarity is shallow and deep, and there is middle and middle." He thinks that Tang Xianzu's "The Story of Conan" and "The Story of Handan" are top grades that can be performed and passed down, because they "pick up their true colors, put their foot in their mouth in beautiful language, skillfully combine them, and look at Yuan people from different perspectives".