An old stage was singing the joys and sorrows of talents, beauties, emperors and generals.
They say that beauties have bad lives, scholars are sentimental, emperors are lonely and widowed, and meeting each other is ultimately parting.
The audience in the audience changed again and again, some sighing, some lamenting, always thinking that it was just a show.
It wasn't until one day when the sound of gongs and drums stopped and the lingering sound dispersed into the dusk that I was shocked to realize:
When did the ups and downs of fate in the play coincide with the shadow of my own life?
It's not just the beauty who suffers this fate, it's the silent woman in front of the rouge stall at the entrance of the alley;
That sentimental person is not just a scholar, but a lonely figure who burns his poems to warm embers on a cold night;
It's not just the emperor who can't help himself...
We are all spectators and actors in the play.
This collection of essays picks up those thoughts that are trembled by the lingering sounds in the gap between the stage and life, trying to answer an unanswerable question:
It's hard to break up the song, it's hard to break the love, it's hard to predict the fate——
Still, I feel uneasy.
In one sentence, the world is a drama on the stage, and the world is a drama off the stage. After the song ended and everyone dispersed, I felt that my heart was uneasy.
Thanks to Xiang Le Le and the play "Baobao" for the inspiration.
Purpose: Through the contrast between the stage and the inside of the play, peel off the shell of the legendary drama, and gaze at the equally profound but silent sorrows and joys, constraints and choices in ordinary life. Explore how we, in our dual identities of "watching a play" and "acting in a play," place the common "uneasiness" about the impermanence of fate, the gathering and separation of relationships, and self-realization, and finally find a kind of clarity and strength that can gently confront the truth of life.