Chuanqi developed on the basis of Xiwen, and reached its climax in the Wanli reign of Ming dynasty. Literary chuanqi developed to an extent that examples such as the highly literary Mudanting (The peony pavilion) written by Tang Xianzu (1550-1616) demonstrated the intellectual-as-playwrights distinctive perception of the "essence of drama." From the end of Ming to the beginning of Qing, this extremely poetic aesthetics went through adjustment with the rise of citizen class, more participation of ordinary people as audiences, changing ideas of drama, etc. The realistic fiction that depicted the society and that emerged since the mid-Ming provided the techniques and materials for the later change in drama. Li Yu (1611-1679) and playwrights of the Suzhou school could best represent the drama in the beginning of Qing dynasty. Their works derailed from the romantic tradition in Ming chuanqi and headed towards the realistic. This period of time saw the emergence of tighter dramatic structure and dramatic techniques. In terms of writing, dialogue (binbai), which helped to portray characters, became more realistic and colloquial, and switched its focus from indicating social status to expressing emotions under specific circumstances. However, Chinese (sung) drama or opera did not further develop into the form of "spoken drama" due to complicated reasons. Sung drama had developed over a long time and established a sophisticated aesthetic system. In Chinese sung drama, which centers on arias, dialogue has to coexist with lyrics, never taking the dominant role no matter how well it has developed. Nevertheless the realistic dialogue in chuanqi of early Qing. despite its brief appearance. set up examples of the writing of dialogue for Chinese sung drama with its significant accomplishments.