This study is about how the story of Dayu Shajia 打漁殺家, one of the representative dramas of Peking Opera, changed from Late Qing Period when it began to gain popularity to the Republican period(1911-1949), and how the figure of the main character Su-en 蕭恩 was constructed. Dayu Shajia gained great popularity during the Republican Period, and as it was performed on numerous stages, the story changed to reflect the needs of the public. First, by omitting the second part story of Bangzi Tune 梆子腔 Qingdingzhu 慶頂珠, which has a longer storyline, and ending with the success of revenge of the hero, the theme of the people’s revolution was highlighted, and it was also possible to improve the literary value of this drama by breaking away from the unrealistic function of Qingdingzhu or the platitude that contained popular ending of meeting a fiance by chance. In addition, as it gained great popularity ever since, its character as a popular amusement was strengthened, and the formerly omitted second half story was added again. It is worth noting that it was not the play itself that made the main character Su-en in the shape of a hero who sacrificed for the people and a hero who has stronger power than the general public, but rather the discourse surrounding the play. In addition, comparing the script from the Qing dynasty and the script from the Republican period, we can notice that a human aspect and tragic mood are gradually added to Su-en’s hero image, creating a popular hero image that the audience can admire while feeling friendly and compassionate at the same time. This is the result of reflecting the shape of the hero who the public of that time desired.