During the 1930 s and the 1940 s, Xia Yan took the art of drama as the most powerful weapon for the anti-Japanese war and for the founding of the state, whose “class consciousness” shown by the left-wing was subordinated to the “state consciousness” and the “national consciousness”. This kind of drama scripts of the anti-Japanese war inevitably suffered from being criticized and denied in the 1950 s, during which time the society emphasized the main stream of the “class consciousness”, and called for the shaping of the hero of the ages.