This term stands for deep and genuine emotions. The expression already existed in Pre-Qin times, but only during the late Ming Dynasty did it become a term in literary theory, when playwright Tang Xianzu (1550-1616) introduced the concept into literary creation. Influenced by the leftist faction of Wang Yangming’s philosophy of the mind, Tang Xianzu put special emphasis on “passion” in literary creation as opposed to “principle,” as was advocated by the Neo-Confucian School of Principle of the Song and Ming dynasties who suppresses emotions with "principle," and Tang criticized this strongly. He believed that “passion”was the driving force in literary creation, hence his theory of “true passion.” In his view, the world was not void of passion, and neither were human lives. The highest status of living a passionate life was to have true passion which would then lead to true beauty and thus achieve unity between truth and beauty. To him, true passion was best expressed through drama, as he claimed that “passion will turn into dreams, and dreams into drama.” His theory gave voice to spiritual and individual freedom. As such, it delivered a powerful blow against the feudal codes of ethics coming down from the Song and Ming dynasties.

We are old friends, so I am speaking my mind. My words may not be agreeable to the ear, but they convey the care of a person who cares for you most dearly. (The History of the Three Kingdoms)

Love can be aroused unconsciously and deepen over time. Because of love, the living can embrace death and the dead be brought back to life. Those who do not want to die for love and cannot resurrect for love after death have simply not attained love’s ultimate sublimity. (Tang Xianzu: A Preamble to The Peony Pavilion)