笔者认为几十年来评论界对《上海屋檐下》等三剧的评价是违背马列主义家庭婚姻观念的,必须重新评价。三部剧作的主题都是双重的,即反帝与反封建的主题同时并存,其中反对封建婚姻观念的主题表现得更为深刻,具有深远的历史意义.作者在处理《水乡吟》、《芳草天涯》的结局时,无意识地陷入封建婚姻观念的泥潭,封建意识在正确的口号原则之下,得以保留。究其根源,是作者的潜意识深处还存在封建的伦理观念。许多评论者亦无法超越封建观念的束缚。 In my opinion, the comments made by the critics over the past three decades such as “under the roof of Shanghai” are in violation of the Marxist-Leninist concept of family marriage and must be re-evaluated. The themes of the three dramas are double, that is, the anti-imperialist and anti-feudal themes coexist at the same time, of which the theme of opposing feudal marriage is more profound and far-reaching historical significance.The author, Grass End of the World, "the end, unconsciously fall into the quagmire of the concept of feudal marriage, feudal consciousness under the correct slogan principle, to be retained. The root cause is the feudal ethics of the author’s subconsciousness. Many commentators can not go beyond the shackles of feudalism.