It is generally believed in academic circles that Liang Zhu's story originated in the Eastern Jin Dynasty. However, all the evidence before the Song Dynasty is not credible. We can be sure that the earliest record of Liang Zhu's story is the Siming Tujing written by Max Zhang in the Southern Song Dynasty. There were also some related works in the Song Dynasty, such as Ji Sheng in the Land and the Four Wise Tombs, but the information provided did not exceed the Four Wise Tombs. In the Yuan Dynasty, Tong Yuan Yanyou's "Zhi Ming" still held Zhang Jin's point of view, and added a sentence at the end of the article, "However, this matter is in a trance, and the old ambition remains." It can be seen that stories were not very popular in the Yuan Dynasty. "Siming Tujing" only says: "Yi Fu Tomb" is the place where Liang Shanbo and Zhu Yingtai were buried together. They were classmates for three years when they were young, but Liang Shanbo didn't know that Zhu Yingtai was a woman. These are two very simple young people. This shows that in the Southern Song Dynasty, the ending of the story was only recorded in the name of Zhu Yingtai's "righteous wife" and Liang Zhu's "shared burial"-this is the initial ending of Liang Zhu's story, and there are not many legends. Stories in different regions have different interpretations of Liang Zhu and Tong Zhong. According to the available data, there are three main theories: (1) the theory of joint burial; (2) Yin-matching theory; (3) the theory of throwing graves. It is said that when Zhu Yingtai was crying, Liang Shanbo's grave suddenly opened and Zhu Yingtai jumped into it, so they were buried together. For the time being, let's put aside the theory of joint burial and the theory of yin match, and start the discussion from Zhu Yingtai's tomb. Both logical problems and emotional problems will form a sense of tension, and new plots need to be added to dispel this sense of tension. And different storytellers will choose to join different plots. As a result, all kinds of people will add various plots. At every joint of the life story tree, new branches will be born, and the growth direction of branches is chaotic, almost all possible directions. We counted 102 stories and found that horses can react in six ways: (1) inaction; (2) Digging graves; (3) chasing into the underworld and continuing to fight for wives; (4) become small insects such as flies; (5) Scared into a red face; (6) double suicide. These six plots basically exhausted all the possible reactions of horses that we can imagine. Every reaction will be supplemented by a corresponding plot. We choose "digging graves" for tracking. Limited by space, we only choose "autopsy" for tracking. (1) Heroes are past, and stones are just relics in the grave; (2) the stone itself is the embodiment of Liang Zhu. As the embodiment of Liang Zhu, the fate of the stone must also be explained. First of all, the horse will definitely try to separate (or smash) the two stones. Once the stone (representing Liang Zhu) is separated, it creates new tension, so we must add a plot about "combination" to dispel this tension. At this point, we can see that the story can continue to grow. As long as there are problems, different plots will be born to solve these problems. Only when all the problems are solved will the story stop growing. Different storytellers choose different solutions. The story will show various possible trends in every subsequent link. Which answer is more attractive? As we know, every story told by each narrator is a creative play and produces an independent text (variant). However, not every variant has the value of communication. The plots suitable for mass communication are selectively retained, and the plots unsuitable for mass communication are eliminated or reformed. On the one hand, we emphasize that the growth of the plot is random and disorderly. On the other hand, we find that almost all the endings in different languages tend to be "happy". Through the statistical analysis of the samples, we can see that whether Liang Zhu is reincarnated, resurrected, autopsied, reincarnated or his soul returns to heaven, the concept of "reunion" is always the goal. According to the optimization principle, we can regard the solution of multi-stage decision-making problem as a continuous inverse process. In our discussion, that is, from the end of "reunion", step by step to the point of "Yingtai Tomb". The first step, as far as Liang Zhu exists, there are only three possible ways for them to reunite: (1) soul reunion; (2) physical reunion; (3) incarnation reunion. Step 2: (1) Soul reunion can only exist in two dimensions: heaven and the underworld. The underworld is often associated with hell and cannot be the best choice. All the stories of soul reunion choose the reunion place in heaven. (2) Logically speaking, there are only two possibilities for physical reunion: resurrection after death and elopement in suspended animation. Logically speaking, since I decided to elope, I have already left. There is no need to make things so complicated, so the theory of suspended animation will not be the best choice. According to the text statistics, physical reunion is mainly the theory of resurrection. (3) incarnation reunion, which can be divided into butterflies, rainbows, mandarin ducks, lotus flowers, bats, two snakes, two stones, two trees, bamboo trees, azaleas, silkworms and moths. From the image, butterflies, rainbows, mandarin ducks and ice lilies are better. From the perspective of communication, people tend to choose things that are more familiar. Therefore, from the statistical data, butterfly theory and rainbow theory have the highest frequency. Among them, "Butterfly Jun" tells the story of Han Ping's wife, which is now mature and widely circulated by scholars in Jiangsu and Zhejiang provinces, making it the best choice. To sum up, the three states of Liang Zhu's happy reunion can be further specified as (1) the hero's soul dies; (2) the hero is reborn; (3) The hero becomes a butterfly. If the story is to develop further, there must be problems (contradictions). So we can only start from the opposite of contradiction, that is, the horse. Horses can't ascend to heaven, but can only move in space twice on the ground (above ground) and in the underworld. If you want to breed conspiracy in the underworld, you must let the horse chase into the underworld and continue to fight for his wife. The form of struggle can be forced struggle, or it can be solved by playing the ghost. And because the hero must ascend to heaven or successfully come back to life, only Yamaraja can meet this requirement, so playing the nether world is an essential part. And the horse's behavior on the ground can only be digging. Digging the grave has created new tension, but from the result, any behavior of the villain can only end in failure in folk narrative. To sum up, the optimized ending of Liang Zhu's story can be further embodied in the following four ways: (1) The hero returns to heaven directly; (2) The hero directly become a butterfly; (3) Fighting for a wife with a horse in the underworld, winning the nether world and returning to heaven; (4) The hero directly went to become a butterfly, and the horse failed to dig the grave. Judging from the existing 102 story text, this inference is almost completely in line with the real situation of folk circulation. Interestingly, if we directly examine the final ending of each story, we will find that they all point to the same goal-"happy ending". We know that no matter how many paths there are from a fixed starting point to a fixed ending point, there will always be some optimal and reasonable shortcuts, and these shortcuts can be said to be almost fixed and transcendental. Therefore, there must be an optimal graph between two adjacent nodes, and these graphs are relatively fixed and almost beyond. If the nodes are fixed and the optimal plot between adjacent nodes is relatively fixed, then the plot structure of the whole story must be relatively fixed and almost transcendental. This is the "most essential attribute" of folk stories-they tend to be patterned. Folk literature is not history and has no fixed residence. It is an oral expression of people's life logic and emotional art, and it is a patterned art form, so it is not a cultural form exclusive to a certain group or region. Therefore, any form of monopoly on intangible cultural heritage is unreasonable.