The long poems of the Aluan story are characteristic of Dai literature; the integrity of the works is revealed in the Dai Bayeux literature

In this era, the Dai society entered the tribal scuffle for more than 250 years, and then entered the rising period of feudal lords, Buddhism became the faith of the whole people, economic development, cultural prosperity, Dai literature also entered the peak stage, produced a large number of narrative long poems, with the "five poetry kings" as its peak symbol.

The long poems of the Aluan story are unique to Dai literature. It is self-contained in Dai Bayeux literature with the integrity and seriality of works, artistic style and method of expression, and has high artistic achievements. The long poems of Aluan are based on the stories of Buddha Bunsen and the legends of Dai heroes, and the content involves the social structure, political system, class relations, ethics and morality, marriage and love and other aspects of the time, with strong religious overtones and romantic styles.

The heroic epics include dozens of works such as "Xiang Meng", "Sticky Basiton", "Sticky Sound", "Yun nan Miao", "Nine Pearls", "Golden Tooth Elephant", "Zhao Wen Bang", etc., reflecting the process of the Dai feudal lord ruling group unifying the Dai society and establishing local political power through war and merger from different angles, reflecting the heroic spirit of the national rise period and the people's yearning for peaceful life. With the spread of Buddhism, Indian culture had a huge influence on Dai literature. The heroic epic "Wushamari" is developed and evolved from a small story in India; the themes and plots of "Ranga Xihe" and "The Twelve-Headed Devil" are derived from the Indian epic Ramayana, but the theme ideas, character shaping and narrative structure have changed, becoming a huge picture scroll reflecting social life, political struggle and religious struggle.

The narrative poems are represented by "Zhao Shu Tun", "Nan Dui Han", "Thousand Petal Lotus", "Golden Mango", "Song Pa Min", "Burmese Osmanthus Flower", "Three Parrot Brothers", "Three Tooth Elephants" and other masterpieces, which concentrate on reflecting the brutality and infighting of the feudal lords, praising the people's spirit of resistance, and expressing the social ideals and life aspirations of the time. These works together constitute the national characteristics of Dai heroic epics and narrative poems in terms of themes, themes, storylines, character images, structural arrangements, artistic techniques and detailed descriptions.

Bayeux's narrative long poems are also infused with the color of Buddhist scripture literature in terms of the creation themes, theme ideas, character personalities, and even poetic imagery and depiction metaphors. The character images, life contents, ways of thinking and conceptual theories shown in the legends and stories of Theravada Buddhism have opened up many new perspectives and new contents for Bayeux literature, especially played a great role in promoting the creation of Bayeux narrative literature, and at the same time had a certain negative impact on the development of Dai literature.

The Skophan Era (14th-18th centuries)

During this period, the local political power in the Dai area entered a period of strength, the commercial economy arose, social contradictions became increasingly complex, and wars were frequent, until the Ming Dynasty implemented the military tun system, and the Dai area became stable again. In this social context, Dai literature has produced tragic narrative long poems and legendary novels.

Under the influence of the first tragic narrative long poem "Wanapali", there were works such as "NanboGuan" and "E and Sangluo", "Line Show" and "Yehanzuo and Maoyangyang", which are known as the three tragic narrative long poems of the Dai people, which together with "HuluXin", "Nan'e Lobsang" and "Peacock Girl", reflected the social contradictions and real life at that time, highlighting the changes in the aesthetic concept of ancient Dai poetry and the publicity of the spirit of critical realism.

Prose legendary novels, such as "Yan Su Yan Xi and Yan Pi Ge" and "Zhao He Ma", are composed of a series of short and concise stories, with the portrayal of the protagonist's wisdom as the main plot line, telling the protagonist's struggle with the lord, the Buddha, and the rich, the language is sharp and spicy, and the style is humorous and witty. This genre paved the way for later prose and fiction writing.

During this period, two works of literary and artistic theory were produced, one was the anonymity "On the Content and Value of Dai Poetry" and the other was "On Dai Poetry" by the Dai monk Parana. The latter attacked the literary style of Dai society at that time, emphasizing that poetry creation should be combined with social life and the spirit of the times; at the same time, it discussed the characteristics of traditional Dai poetry and the author's literary propositions, which had the most far-reaching influence in the Dai ideological and intellectual circles.

Dao Anren era (18th-1940s)

This period was an era of the decline of China's feudal dynasty, the gradual awakening of various frontier nationalities, and the rise of anti-imperialist and anti-feudal struggles. Dai literature takes anti-feudalism and anti-great powers as the theme, and many new folk songs with the spirit of the times have emerged, especially the budding Dai opera has developed rapidly under the impetus of the torrent of the times.

Dai opera was probably formed in the Qing Dynasty, first appeared in Yingjiang County, Dehong, and was mainly circulated in Dehong, and the famous local intellectual Dao Anren made positive contributions to promoting the development of Dai opera.

Dao Anren is a descendant of Toast in the Dry Cliff area of Yingjiang, deeply influenced by Han culture, he loves poetry and creates a long poem that praises justice and resists aggression, "The Book of Resistance to Britain". He liked Dian opera, advocated the Dai ethnicization of Dian opera, and organized Dai intellectuals and artists to adapt the "Romance of the Three Kingdoms", "Water Margin", "Journey to the West", "Xue Rengui Zhengdong", "Xue Dingshan Zhengxi", "The Complete Biography of Yue Yue" and other Han operas, and translated some Han plays. He created the first professional Dai opera class, and wrote an opera singing poem "Shouting a Thousand Zhuang" for the systematic training of Dai opera actors, which means "singing a thousand kinds". In the development of more than 100 years, Dai opera has accumulated about 250 kinds of traditional plays, of which the representative plays reflecting the real life of society are "Butenna" and "Twelve Horses"; the repertoire adapted from folk narrative long poems or legends and stories includes "Scenery Menghuan", "Mu Ying Nanzheng", "Xiang Meng", "Langa Xihe", "Aluan South Road", "Bingji Bingli", "Three Tooth Elephant", "Pahan", etc., and there are also plays transplanted or adapted from Han classical masterpieces. In the process of borrowing from Han opera, Dai opera has gradually become a performing art with distinct national characteristics.

After the founding of the People's Republic of China, some Dai folk singers (Zhang Ha) inherited the dai folk song tradition and created some new poems reflecting the real life of socialism, Kang Langying, Kang Langpeng and Bo Yuwen were the three famous singers in Xishuangbanna area; Zhuang Xiang was the most representative singer in Dehong area.

A number of Chinese writers and poets have also appeared in the Dai literary circles. "Southern National Conditions and Heaven" created by young and middle-aged writers Zheng Peng and Fang Yunqin is the first novel in dai contemporary literature; Yan Wenbian and Yan Lin have also made important contributions to the collation and translation of traditional Dai literature while creating; the short stories of female writers Pahan and Cui Zaijuan's TV series, and the creation of Dai texts by Fang Yan and Yutao have also attracted attention.