Of Chinese plays with commentaries, Kong Shangren's Taohua shan (The Peach Blossom Fan) is a masterpiece that deserves special attention. Taohua shan was first published by Jieantang in 1708. The Jieantang edition of Taohua shan carries many prefaces, afterwords, poems before and after the text, and commentaries inserted within the text. This demonstrates that before the play was formally published, the author had incorporated the responses from readers, audiences, and commentators into the text: the processes of copying, reading, acting, appreciating, transmitting and publishing transformed the final work. The author invited contemporary celebrities and his friends to write prefaces for him, and he himself penned the "introduction," "postscript," "textual criticism," and "stage props" to formulate his idea of creativity and artistic construction. This paper explores the embedded critical dimensions of the commentated Taohua shan. It addresses, among others, the following issues: the writing and performance of the play; the "critical consciousness" and "reader's consciousness" of Kong Shangren; the dramatic structure and textual construction of the play; the presentation of his artistic visions; the principles of characterization; and the techniques of description. By analyzing the thinking and design of the commentaries, we suggest that the commentator has given a demonstration of "interpretative reading" and "horizon of expectation" for drama appreciation, theory and performance. In this light, the commentator not only plays the functional role of "historical reader" or "ideal reader," but also exerts a great influence on later readings. The symbiosis of the author and the reader and the direction that the commentator left for the reader in the commentaries point to the artist's critical consciousness and a poetics of contextuality in which the commentator, the reader, the audience and the author are fused into one.