Yiyang Opera and its changes in the Ming Dynasty included about 120 kinds of Qingyang, Huizhou, Siping and Taiping operas. These plays have a wide range of themes and rich contents, and have the creative tradition of folk literature. A considerable part of the source of Yiyang Opera inherited the traditional operas of Southern Opera in Song and Yuan Dynasties, such as pipa, moon pavilion, white rabbit, Chai Jing, killing dogs, gold seal and embroidery, and some of them were absorbed in long-term exchanges and performances with Haiyan and Kunshan. For these two kinds of dramas, Yiyang opera artists and folk playwrights often "tune" in their performance practice to enhance the local flavor of their works. Most of the self-created plays of Yiyang Opera are created by middle and lower-class literati and folk artists, such as Zhu Shaozhai, the author of second time around, Zheng, the author of Legend of the White Snake, and Gu Juezai, the author of Brocade. Their works are regarded as "vulgar kisses" and "vulgar words" by scholars with scholar-bureaucrat background, and the names of the authors are only recorded by 25 people. Only the pearl story of Gao Wenju, the hairpin story of He Wenxiu, the rebirth story of Yuan, the story of Guanyin fish basket (carp story), the story of broken kiln, the story of Xue's white robe, the story of ancient city, the story of He Rong and the story of changing shoes have been handed down to this day. Because these playwrights are close to the masses, their works reflect the love, hate and moral right and wrong of working people to some extent. Among the operas of Yiyang Opera, the representative operas that have performed for a long time, such as Brocade, Classmate, Selling Water, Broken Kiln, Golden Seal and Golden Ferret, all have this feature.