Spring on the Other Shore

In the article "Spring on the Other Shore", Ah Yi intersperses many images, among which Tencel, Double Swords and Lushuang should be regarded as the three most important groups of serial images. I have previously discussed my feelings about these three groups of images in three articles. Although the other images in "Spring on the Other Side" may not be as prominent as the above three groups, they still have many ingenuities and are definitely worth commenting on. I originally wanted to put these scattered images together into a miscellaneous article, but after much deliberation, I finally decided to enter the character chapter of this series of literary reviews in advance. I will discuss some of the images that I have not mentioned before in the character and scene chapters. I think I am being lazy. If I forget anything, please remind me in time. To comment on the characters in "Spring on the Other Side", the first one is naturally Su Guang. When Ayi concluded the article, he vowed in the postscript that "the coffin is sealed, this is an article with a female protagonist." Although Hajime later overturned this statement to some extent in "After the Epilogue", saying that her love for the cat-sama has become equal to Su Guang at the end of the novel, and Hajime's old friend Vivian also complained in a long review that "the heroine misled me, Hajime's true love is indeed a cat, and has always been a cat." However, in any case, I still believe in Hajime's first reaction and instinctive judgment. In a novel, who is the main protagonist depends first on the proportion of the character's role, then on the character's role in promoting the plot, and finally on the author's investment in the character. No matter from which perspective, the first protagonist of "Spring on the Other Side" is definitely Su Guang. What is the relationship between Su Guang and Ha Yi? This is a very interesting topic. There are at least four authoritative statements that I have seen so far. First of all, over the years, Ha Yi himself has always called Su Guang his biological daughter, referring to her as "my Su Guang". Although Hajime's old friend Kazuye is called one of Suguang's prototypes by Hajime, she herself said in a long review that Suguang's character, "Although it is far from the Hajime we are used to seeing in reality, it can be said that the author relies on his own thoughts." Vivian, another old friend of Hajime, also said , "Ha Yi's portrayal of Su Guang is not like a mother's expectations for her daughter, but more like the pursuit of another self, the imperfect and stubborn person who sticks to her own beliefs, but is also a memorial to a woman's most beautiful years. Come to think of it, only for herself would Ha Yi be so strict, and make the city like sand. Like a desert rose, growing alone in the boundless wind and sand; like a cherry blossom, falling at the most beautiful moment." What's even more interesting is that a member of the Ah family said in a long commentary on Jinjiang, "If you think that Ah Yi is the prototype of Su Guang, you may have guessed only 5% of the time. Some of the things on it probably only appeared in Ah Yi's spiritual world, and Zhan Zhao is more like Ah Yi in life." He further wrote in the comment: "Ah Yi said that Su Guang is our daughter. I must ask for a paternity test and firmly refuse to admit it." There is only one truth. If you read it carefully, you can find that the views mentioned above seem to have different opinions, but there are also overlaps. Writing novels is a kind of conscious practice. It is impossible for the author not to substitute himself at all in the process of writing. What is more, what is outstanding about Ah Yi is his ability to externalize deep and delicate inner experiences through his rich accumulation of knowledge and outstanding writing skills. Readers of the article "Spring on the Other Shore", whether they like Su Guang's character or not, have to admit that Su Guang has indeed reached an unparalleled level of elegance under Ah Bi. This confirmed Ha Yi's ability. Su Guang's dazzling light in wisdom, ability, knowledge, character, etc. Is undoubtedly the reflection of Ha Yi's own corresponding light. From this perspective, it is impossible for Su Guang to be separated from Ah Benzun. But Su Guang's personality is completely different from Ha Yi's. How to explain this? Generally speaking, character is the key to character creation in novels. It is often said that fate affects character, and character determines destiny. Su Guang's background design determines her specific character. Frankly speaking, when I first learned about Su Guang's character design, I couldn't help but feel a little worried for Ha Yi. The cold and paranoid revenge girl is not a novel setting, nor is it a likable setting. At the same time, it is easy to fall into a cliche plot design, which definitely does more harm than good. Readers should be able to tell when reading the article that Ah Yi is an author who does not want to conform to the conventional. As I mentioned before in the review of the image chapter, she wrote about double swords, but she didn't use the combination of moves. She wrote about Lu Shuang, but she didn't mention playing skills. She wrote about Tencel, but she turned the weapons into armor. What others don't have, I have, and what others have, I have something new. This is the pursuit that Ah Yi has always adhered to. Su Guang, the most critical character in the whole story, has such a character design that the probability of success is low, but the risk factor is extremely high. Hajime cannot be unaware of it. I guess the main considerations for Su Guang's character design may come from three points. First, only the background setting of Ganzhou Uighurs can naturally connect the three volumes of Xiangyang, Tokyo and Northwest together. As the first protagonist, Su Guang can actively rather than passively invest in the scenes, situations and chapters, and play the role of the first protagonist. From this perspective, looking back at the historical background at that time, both the Liao Kingdom and Xixia have been explored by many authors, and only the Ganzhou Uighurs are a relatively new perspective. Su Guang's mixed-race identity of Hu and Han, just like Zhan Zhao's identity of a temple and a Jianghu, is easier to create dramatic conflicts. Second, Su Guang's characteristics of being strong on the outside and soft on the inside, in Ah Yi's words, are generous and forward on one side, fragile and miserable on the other, which converge into a charming neutral temperament. Combined with Zhan Zhao's character traits, it is easy to trigger Zhan Zhao's respect and affection, so that Qing Zhao's love can be naturally derived. Ah Yi made a point in Qingzhao's fifty questions, saying that Xiaojiabiyu probably didn't like Master Cat. I agree with this point, and I can leave the details in the Zhan Zhao chapter. Third, Su Guang's extreme persistence in the hatred between country and family can maintain the conflict between Qing Zhao for a long time, making the storyline full of tension, unpredictable and fascinating. Zhaoba literary friend Xin Huan commented, "Your Su Guang is really too persistent. You can't give up your persistence and hatred when you meet a great man like Xiao Zhan. I'll omit five hundred words..." This complaint is right, but little does he know that this may also be one of Su Guang's attractions to Zhan Zhao. Qingcheng's stubbornness meets Zhan Zhao's persistence, just like needles against each other, just to see who can come out on top in the end. I accidentally strayed far off topic, so I quickly returned to the previous question. When creating Su Guang with such a character, I'm afraid Ha Yi wrote about his daughter rather than putting in his own mentality. Many readers pointed out in their comments that although Su Guang is set as a powerful heroine, she does not have any Mary Sue flavor. The underlying reason is this sense of distance. The way Hajime handles the heroine is completely different from many fanfics, especially time-traveling ones. The origin of Mary Sue lies in the author's imaginary implantation of the character and the blunt and far-fetched plot design. In terms of plasticity, Ha Yi managed to isolate himself from Su Guang in terms of personality. In terms of plot, as the postscript said, he pursued "it will take its course and let nature take its course." Therefore, in the process of reading the article, readers do not feel that Su Guang is the product of the author's obscenity, but can fully understand why Zhan Zhao, Ya Su, Mo Le, and Zhao Zhen, four men with different charms, are deeply attracted to and unforgettable. Ah Yi's writing about Su Guang is full of bitterness and cruelty, but is full of compassion and expectation. Thinking about it, this is why Ah Yi said in the postscript, "Ah Yi has given Su Guang too many hardships, but he still considers himself a QM." After five years of pregnancy and once she gave birth, Ha Yi could only be her biological mother to Su Guang. However, the title of biological mother is a big deal, hehe, Ha Yi, you know. Although many readers, represented by the husband of the Ah family, have criticized Su Guang's personality. For example, Baidu netizen Muyuan said that Su Guang has a "naughty personality", but in my opinion, Ah Yi's Su Guang is generally very successful in shaping. After reading this novel, I became a fan of Qingzhao, but before that, I was first of all a fan of Suguang. "The dream come true, the dream come true. Where is the trace of her beauty in the sky? She bends her bow to shoot the big eagle, adds fragrance at night, composes poems, paints colors and makes soup." From all aspects, Su Guang is definitely a dream come true who can compete with Xiaosi. I can completely see the hard work and high expectations that Ah Yi put into creating Su Guang, Ah Yi's version of the girl who fulfills her dream. The same chivalrous and courageous person is burdened with a heavy destiny, wandering between reason and emotion. Su Guang is slightly inferior to Xiao Si in understanding reason, but his heroic and heroic appearance is even better. Xiao Si is the daughter of a great scholar and a brave woman from the East China Sea, while Su Guang is the queen of the generals and a genius beyond the Great Wall. In the Egret Boat in the Return Chapter, there is a scene where Qingzhao gossips. Zhan Zhao annoyed the beauty because of the Escort Bureau's version of the shopping list, and jokingly called her "Miss Lu" when apologizing to Su Guang. This one is so interesting. Apparently, this is in response to Su Guang's complaint that "the dog bit Lu Dongbin", but if friends who are familiar with Jiang dramas watch it, they will definitely smile. The word "Miss Lu" is actually referring to Xiao Si by name and surname. Ah Yi's tribute to Ding Shanxi and Jiang Ju is considered to be the ultimate. If you extract the keywords of Su Guang, the first one should be the word "beautiful". In the article "Spring on the Other Side", Ah Q deliberately avoided direct description of the appearance of most characters, especially male characters. Even Zhan Zhao only used a few simple adjectives. This is a sensible approach. However, regarding Su Guang's appearance, Ha Yi never spared words and was indeed extremely partial. From the beginning to the end, Ah Yi never forgets to remind readers that the beauty of plain light is the beauty of the country and the beauty of the world. In the Xiangyang chapter, the dance in Tianxiang Tower that confuses all living beings is called "Shao Guang Jue". The line drawing in that paragraph combines the words of Luo Shen Fu and Li Yu's poems, highlighting the ethereal and illusory word "Allure". And in the night of Zhuque Lane in the return chapter, "the red clothes are like brocade, the blue silk is like satin, and the eyebrow makeup is like cherry blossoms." The contrast of colors is bright and dazzling, which goes straight into the heart. When it comes to the section about the reunion at the house, Ah Yi once again directly quoted from the Luo Shen Fu, "Practice the literary shoes of traveling far away, and drag the light train of mist and gauze", completing the echo with the previous scene and realm. It can be said that in almost every important scene of "Spring on the Other Side", there is a positive description of Su Guang's physical beauty, with the unparalleled beauty as the foundation and the heroic spirit as the result. Ah Yi said in the postscript that the image of Su Guang is neutral, and the most complete and accurate summary of this neutral beauty is the four words "Yushu Linfeng". Words originally used to describe handsome men are used instead of beautiful women (and it is not a case of women disguising themselves as men). This is another manifestation of Hajime's contrary approach to other authors in his writing. As for the profile descriptions of Su Guang's appearance, there are countless. Zhan Zhao's reaction when she took off Su Guang's veil is the best example. Other perspectives include the little palace eunuch of Tianzhang Pavilion, the Tokyo drug store clerk, Zhao Zhen in the position of great suffering, etc. Even the boy in sackcloth, Lu Li, couldn't help but feel a little dazed when he first saw Su Guang at the Qingjian city gate. The only disagreement about Su Guang's appearance is probably Bai Yutang's classic saying, "How pretty is this girl like you, worthy of my frivolousness, Master Bai Wu?" The fifth master Bai can be treated like this by Ha Yi, and he is indeed a character who entrusts Ha Yi's true love! However, the unscrupulous description of Su Guang's appearance also put Ha Yi in a dilemma on the other hand: As far as I know, Ha Yi wanted to make a MV for "Spring on the Other Side" and had already completed a small part of it, but because he was not completely satisfied with Su Guang's character, the plan was ultimately scrapped. With her picky and perfectionist character, this is also the inevitable result. In fact, I can't blame Hajime for this. I really can't think of the best candidate for who can come closest to the image of this "red-clad heroine". Alongside "beauty" is the word "bitter". Similarly, in almost every important scene of "Spring on the Other Side", there is a description of Su Guang's inner pain. Quantitative changes lead to qualitative changes, so that readers finally couldn't stand it anymore and spoke out one after another. Zhaoba readers have appealed to Ah Yi many times to "please not abuse him", but in the end Ah Yi was not gentle at all and shook his head. Focusing on the image that embodies the bitterness of Su Guang, it is naturally Qi Ku Tea. It's hard to understand how Ah Yi came up with this drink that "suffers all the seven major sufferings of the living in one cup of tea". Another related image is the jade ring given to Su Guang by Yasu. This can be discussed in detail in the Yasu chapter. Cherry407free, a netizen of Xiong Fei Bar, complained, "It's really not easy to be a heroine. If it were me, I would be overwhelmed by so many worries and lie silently." Indeed, just read the two long comments about Su Guang by teresa_831221 and Vivian to understand that the public is deeply indignant about the hardships Ah Yi has inflicted on Su Guang. Alas, this topic is too heavy, and there are already many wonderful and detailed reviews, so I won't write more. As for the winding and bitter love story between Qing Zhao, Ah Yi's "After the Postscript" has already been the author's official summary and interpretation, and I don't need to say more. In addition to "beauty" and "bitterness", Su Guang also has the word "jiao" on her body. The word "jiao" is not only the "jiao" of the popular Internet word "tiaojiao", but also the "jiao" of Lin Daiyu's "jiaohuazhaoshui". In fact, this is another difference between Su Guang and Xiao Si. I always feel that despite her tragic life background and dazzling magnificence, Su Guang was originally a beautiful and kind-hearted child. Although Ah Yi did not write the Ganzhou chapter, we can see Su Guang's childhood in those scattered memories. "Yasu, you're finally here", "... Yasu, don't be angry... Look, I picked the most beautiful flower for you... Do you like it..." A few plain words made people forget the biting coldness of the northwest chapter in an instant, and their hearts suddenly softened. In the Tokyo chapter, Su Guang's girlish temperament was revealed in several scenes between Su Guang and Bai Yutang. Zhaoba netizen "Lonely Bliss" commented: "My favorite interaction between Xiaobai, Qingcheng and Zhan Zhao in the Tokyo chapter. The mutual teasing and affection between him and Qingcheng." Kazuye also commented that "these two people are somewhat flirting" and "it is still enjoyable to watch Qingcheng and Xiaobai." In fact, although Su Guang and Zhan Zhao always hesitate to talk, and the sense of interaction is far less than that between Su Guang and Xiao Bai, this worry about gains and losses, hesitation and sorrow between Qing Zhao is the essence of love. Between Qingzhao and Qingzhao, it was only after Su Guang came to Dashun City that he "accorded to everyone's wishes and returned to the Song Dynasty" according to Vivian's words. Readers began to catch a glimpse of Suguang's delicate demeanor in the interaction between Qingzhao and Qingzhao in the Return Chapter. It must be said that Su Guang's words and actions do have a bit of Daiyu's shadow. The delicate flowers in the egret boat shine on the water, and the weak willows in the Suzaku Lane support the wind. Although there is deep pain hidden under the relaxed appearance, from the perspective of the love drama writing technique, the sense of charm and agility is extremely vivid. Coupled with Zhan Zhao's strength, persistence and dark underbelly, it is no wonder that many readers exclaimed that they are "extremely excited" and "will never tire of it". Let's just assume that this is some kind of compensation from Hajime to the readers. "Should I call you Qingcheng or Suguang?" These two names of the heroine are a dilemma between Qingzhao and an interesting question mark. I don't know if you have noticed that although the third person in the article always refers to the heroine as Qingcheng, Ha Yi insists on calling Su Guang outside the article and rarely uses the name Qingcheng. I guess that Ah Yi chose another name for Su Guang, Qingcheng, mainly due to the following considerations: First, according to the official statement, according to Zhao Jue's interpretation, the name Qingcheng is to "remote the Ganzhou Incident of that year". The "Qingcheng" here refers to Ganzhou, which is similar in semantics to Zhang Ailing's "Love in the Qingcheng"; second, a more superficial interpretation is to connect the heroine's beautiful appearance, which can easily lead to relevant rhetoric. Derived descriptive sentences of the scene, such as "Looking at the city, falling in love", "Said nothing but falling in love", etc.; Third, and more obvious, refers to the heroine breaking the barriers in Zhan Zhao's heart and truly entering the emotional world in his heart. The "lonely moment, the wall of love" in the Xiangyang chapter has this meaning; fourth, in some scenes, it can refer to drastic plot changes, such as "reversing the will of God, turning the world upside down, and falling in love in an instant". These many "alluring cities" are intertwined together, giving these two words multi-layered meanings. As the section of Zhuque Lane says, "The past is like smoke, the past is like a dream, and they are all in the beautiful city." And the meaning behind Zhan Zhao's sigh, "It's really beautiful" is not just a compliment to Su Guang's appearance. In addition, with "Qingcheng", the name "Qingzhao" can be combined with Zhan Zhao's name. You may not know that Ah Yi's pursuit of beautiful sounds and shapes in his words can sometimes reach outrageous levels. "Qing Zhao" is naturally much more beautiful and smooth in terms of phonological rhythm than "Su Zhao" or "Zhao Guang". Ha Yi can ruthlessly exclude Juque from the article because "the name is not pleasant", and he can also insist on the second name "Qingcheng" because of a combination of syllables. The word "Su Guang" is even more interesting. Originally, I thought that the "Jiao Jiao Liu Su Guang" in Zhao Jue's words should be very close to the original meaning of these two words, but I didn't expect that Hajime could not wait until the third to last chapter of the book to belatedly use a so-called "Old Wusun incident" to explain the true meaning of the word Su Guang. "The advancement and retreat of life and death depends on the original mind." The realm of this is of course far beyond the "bright and clear light". To be honest, I really believed it at the time. It was not until I read in the postscript that Hajime said it was pure fabrication that I was shocked. But everyone must have understood by now that the word "Su Guang" is essentially a replica of the word "Yue Hua". The person who is better than the person is better than the person who is good at it. This is the ultimate goal pursued by Ha Yi. "Su Guang is Yue Hua, and Yue Hua is also Su Guang." As soon as these words came out, the ending of "Su Huatong" was about to come out. Su Guang and Yue Hua are not the relationship between host and guest, but different aspects of the same person. Hajime emphasized this point many times, and gradually I was able to understand it. Hajime's persistent pursuit of technique may be difficult for most people to understand. Although according to Kazuyo's interpretation, the drunkenness in Qingfenglou imitates the plot of "revealing the true nature of a charming girl", but everyone should agree that Kazuyo's role of Yuehua is not to create an exciting point between Qingzhao. The dramatic conflict between Qing Zhao and Qing Zhao is already enough, there is no need to deliberately add a third party, and Ha Yi will never allow this novel to fall into the trap of two women competing for one husband. The young girl Su'e can withstand the cold, and she fights with Chanjuan in the frost in the middle of the moon. Writing Yuehua is entirely for the setting of Suhua's unity and the ending of Suhua's unity. Yuehua is the last ray of light that Su Guang bursts out with his life. It is like a swan song that sings the final self-growth and completion. Su Huatong's setting, as Ah Yi himself realizes, is the most controversial point of this novel, and is even the biggest "criticism" of this novel in the minds of some netizens. But now that I think about it, under the premise that it is absolutely unrealistic to say "worship heaven and earth with joy and live a sweet life" as Baidu netizen Chong Yingke said, which setting can better reflect the theme of "everyone is evil and everyone is crazy"? What other setting can create a situation where "the ripples of light follow the waves for thousands of miles, and the plain light is forever hidden outside the moonlight"? "Chanjuan is there every night, and her shadow is with her." These eight words have already brought tears to my eyes. The most pity for the hard work is the sky and the moon, and I don't care about the ice and snow for you. Ah Yi, Su Huatong's setting, others don't understand you, I understand! Throughout the entire text, Hajime has always used cherry blossoms as an image to set off Su Guang, which is extremely obvious. It must be impossible to keep the branches, so the cherry blossoms are more beautiful than others. From Yuehua's point of view, "I know that you have a hard journey, so I repay you with longing for you. I will work hard all your life and never regret my youth." Cherry blossom rain and acacia jasmine, two flower images, merge into one in the courage and perseverance of "not regretting the loss of youth". Indeed, as Hajime said in the postscript, the combination of Soguang and Yuehua has many similarities with the combination of Kaoru Kamiya and Megumi Takahashi. And don't tell me, if you think about it carefully, Zhan Zhao and Jian Xin have a lot of similarities. Alas, I digress again. To sum up, Ah Yi spent a lot of effort in writing Su Guang. At this moment, I couldn't help but think of what a dear friend of Hajime's family said, "The author has buried so many allusions, so many metaphors, and so many echoing baggage in the text. Unless the reader reads carefully and overlaps with Hajime's knowledge, it will be difficult to fully appreciate it." I should be considered a reader who has a high degree of overlap with Hajime's knowledge, but I am afraid that I cannot fully understand the subtleties. The beginning of this character review is confusing, so I can only apologize to Hajime and Suguang.

When the series of literary reviews of "Spring on the Other Side" enters the Zhan Zhao chapter, it can be said to have reached a bottleneck. After thinking about it for a while, I always felt that I couldn't find the right analytical perspective. I originally wanted to take advantage of Ha Yi's summer vacation and postpone it indefinitely, but two days ago I saw that Ha Yi, a low tech, actually produced a running account version of the MV for "Spring on the Other Side". Although I have some criticisms about the necessity of the MV production and the effect of the film, to be honest, after watching the MV, I feel that I have a more perceptual understanding of Zhan Zhao in the article. Take this opportunity to pick up your pen and continue. As far as I know, Zhan Zhao's writing began in Shi Yukun's "Three Heroes and Five Righteousnesses". Ah Yi's "Spring on the Other Side" seems to be based on Yu Yue's "The Seven Heroes and Five Righteousness", so it calls itself a "Qiwu Fanren". At first, I thought it was a fanfic written by Ah Yi for Jiao Enjun and Sun Xing's TV series "The Seven Heroes and Five Righteousness". It was a minor misunderstanding. Frankly speaking, whether it is Shi Yukun's "Three Heroes and Five Righteousness" or Yu Yue's "Seven Heroes and Five Righteousness", Zhan Zhao in it gives me the impression of a relatively average chivalrous image. I feel somewhat similar to Qin Qiong in the romances of the Sui and Tang Dynasties. He is a loyal and righteous hero, and he is upright. In a sudden change, he transformed from a rough hero to a pillar of the temple. Shi Yukun's true love seems to be more reflected in Bai Yutang. The fifth master Bai who is ruthless, poisonous, arrogant, beautiful, righteous, and brave is the existence that makes the readers of the original novel and the storytellers' hearts flutter with love and hate. The original work is a □, the crimson robe and Tsing Yi in "Spring on the Other Side". Its initial elements are probably more derived from the image of film and television works. In the "Postscript", Ah Yi mentioned the prototype of Zhan Zhao in the article "Spring on the Other Side" and said: "Jin Zhao? Jiao Zhao? Comprehensive Zhao? It's hard to describe in one word, but it is probably closer to the temperament of 93 Jin Zhao? Let's vote." If I were asked to vote, I would probably vote for Jin Zhao. First of all, it has been stated in "Fifty Questions about Qing Zhao" that in the setting of this novel, Zhan Zhao is 27 years old and has served in Kaifeng Mansion for ten years. In the article "Spring on the Other Side", Zhan Zhao still has four or five years of experience. In terms of age and maturity, the impression left on the audience by Jin Zhao in the 93 version of Bao Qingtian seems to be closer. Zhan Zhao in "Spring on the Other Side" shows more of a deep and restrained temperament, and does not deliberately highlight the concept of being as gentle as jade. In the description of Wang Yanchuan's expression during a night at the bottom of the valley, "Zhan Zhao's brows are raised, and a faint word Sichuan appears", which is even more similar to Jin Zhao in appearance and spirit. Ah Yi's MV finally chose Jin Zhao as the image of the cat. As far as I know, it caused a lot of controversy among her old friends. In fact, my personal feeling is that when reading this article, you don't need to put too much into the image of Jin Zhao or Jiao Zhao, and you don't need to be too careful to distinguish whether the "A Smiling Spring Breeze" in the article is the Jin version or the Jiao version. After all, the one in the article is the unique Hajime's own cat. The article "Spring on the Other Shore" is more like an "adult novel" written for thirty-year-old readers, rather than a novel about love for school-age readers. Zhaoba reader "I am a diver" commented that the article "Spring on the Other Side" is "affectionate but not childish". The reason why there is no childishness like Mary Sue is that from the heroine's point of view, as I said in my review of Su Guang, Ha Yi has achieved isolation from Su Guang in terms of self; and from the hero's point of view, Zhan Zhao has inherited a perfect personality under Ah Bi, with development and growth, but his mature and independent characteristics have always been the same. The development trajectories of Zhan Zhao and Qing Cheng in the article "Spring on the Other Side" are exactly opposite. One goes from plainness to dazzling, while the other goes from brilliance to silence. One waxes and wanes, the other grows, the light shines, and finally Qing Zhao becomes a touching CP. In my opinion, although it took Ah Yi five years to write "Spring on the Other Side", it should be said that he still made a profit. Ah Yi's process of writing this novel was actually equivalent to going through three novels. The Xiangyang chapter and the Tokyo chapter can be regarded as public case martial arts novels, while the northwest chapter is like a historical novel. When it comes to the return chapter, it turns into an out-and-out romance. In addition to the writing style, the most important thing that can seamlessly connect these three different types of writing styles is the protagonist who naturally grows up in it. Qingcheng and Zhan Zhao are the "informants" who shoulder this important task. From the perspective of character development and growth, Ha Yiyi's completion of Zhan Zhao at this level is even better than Qingcheng's. From the first appearance, Zhan Zhao in Ah Bi's novel is by no means the typical Nan Xia and Yu Mao, but a living flesh and blood. Zhan Zhao, who appears in Fengxian Temple at the beginning of the Xiangyang chapter, is a man in Tsing Yi with "silent and profound eyes". He looks like a plainclothes cat who is very familiar to readers and is ordered to investigate and handle confidential cases. But what is interesting is that while kneeling in front of the Buddha and waiting for Ouyang Chun, Zhan Zhao inadvertently revealed not his worries about the situation of the case, but his deep fatigue with the temple life. It was at this moment that Qingcheng suddenly appeared beside him. Before Qingzhao worshiped the Buddha together, they had been "entangled for half a lifetime, endlessly." Qingcheng's luck was that she met Zhan Zhao, who was in his prime but was tired after ten years in Kaifeng. Although he seemed to be still upright and impeccable, under the influence of a series of internal and external factors, he finally gradually let go of his guard, and finally fell in love. "Meeting the right person at the right time" is an unbreakable emotional truth at all times and in all countries. When discussing the case of King Xiangyang with Ouyang Chun, Zhan Zhao's behavior and words restored Yu Mao's usual calm attitude, but then Qing Zhao faced off against Tiansi in the palace at night, and the various mysteries of Qing City touched Zhan Zhao's desire to win. "The girl has seen my true face, but I haven't seen her beauty yet. Isn't it unfair?" Zhan Lu took out her sheath and her youth suddenly appeared. The shock at that moment probably lasted until we met again at Tianxiang Tower. Under the candlelight, watching Qingcheng walking away from him step by step towards Zhao Jue, Zhan Zhao "suddenly felt an unspeakable feeling in his heart." This inexplicable feeling of heartbeat and loss reflects the seven emotions and six desires of human nature under the appearance of a gentleman. Sheijian reveals himself and walks with the Jedi. Zhan Zhao in the Sky Tower finally learns the details of the old events in Ganzhou. In the desperate moment of the copper network formation, readers did not see vulgar dialogues such as "You should leave quickly" and "No, how can I leave you". Ah Yi did the opposite, allowing Qing Zhao to exert his aura at this time of life and death. Qingcheng said, "That's enough! For no reason, you end up spending your life for me in this Sky Tower. Is it worth it? I'm used to being lonely. Even on the road to Huangquan, it's not uncommon for you to be a fellow traveler!" Zhan Zhao said: "Here and now, where is the room for willfulness? Leave here first, and then argue! Life! Destiny is up to God! If this is your destiny, Zhan will be the first to not believe it! This Chongxiao Tower is definitely not the place where you will be buried!" With Chunjun Zhanlu's involvement, the experience of fighting the enemy side by side, and the extremely tragic past, perhaps from this moment on, Zhan Zhao has subconsciously regarded Qingcheng's future fate as part of his responsibility. What Ah Yi said in "After the Postscript" is half right. From the beginning of Qing Zhao's relationship, Zhan Zhao has always been the relatively strong and dominant party in Qing Zhao's relationship. This very manly feeling is also relatively close to Jin Zhao. From the time Shilipo Junbuwu went to Tianzhang Pavilion to look for paintings, and then Qikucha revealed the story of fraud, Zhan Zhao used bets one after another to maintain the various relationships between Qing Zhao like walking on thin ice. Jun Buwu's fatal sword blow, as Baidu netizen Leng Guohuang said, was about Qingcheng's intolerance and the complex emotions in his subconscious. The search for paintings in Tianzhang Pavilion is based on Qingcheng's regret and concern for stabbing Zhan Zhao, which has been more clearly expressed. Playing cold public case duties against the nascent and hazy feelings, this is definitely a far more heart-wrenching gamble than Jun Buwu, and it also produces a revealing dialogue that can be called the "most tense" in the whole novel. The bright moon is in the sky, reflecting the vermilion into the blue, and the fragrance of ink is overflowing in the Tianzhang Pavilion. "It's better for me to remember your appearance better." How much regret and helplessness is hidden under Zhan Zhao's simple words? At this time, Zhan Zhao is still the royal cat with Kaifeng Mansion as the supreme starting point. The only thing he can give Qingcheng is that after the truth is revealed, "Zhan will fulfill the agreement between you and me here in advance and give his life to the girl." What he didn't expect was that Qingcheng said hatefully and insisted on leaving. The words "You deceived me so hard" made Zhan Zhao "suddenly shocked and couldn't help but let go of his arms." The title of this chapter is "Knowing Qing's Face". On the surface, Qingcheng revealed the truth about Tianzhang Pavilion's search for paintings, but could it be that Zhan Zhao had a clearer understanding of his own heart after experiencing this fierce conflict? In this scene, Qingcheng is tricked by the secret love in her heart that she is not yet aware of. Although it is painful, the public and private conflict in Zhan Zhao's heart should be even more painful than Qingcheng. In my opinion, the Tianzhang Pavilion scene is not only an exquisite focus of the outbreak of dramatic conflicts in Ah Yi Yi, but also can be regarded as the official beginning of a painful journey. Perhaps it was the lingering feeling that touched my heart in Tianzhang Pavilion, when Qingcheng of Zhao Dynasty was tortured in the imperial trial, and the sentence "If there is anything between you and me that has not been settled clearly, why bother today", slowly dragged Qingzhao's feelings into the summer in Bianliang. Qingcheng complained about Zhao Zhen's "drag" technique in the Ruisi Palace. In fact, Zhan Zhao was a more persistent and skillful "drag" tactic to Qingcheng than Zhao Zhen? At the Zhuque Lane version of the Hongmen Banquet, Ah Yi served another classic scene, Seven Bitter Tea. "From Fengxian Temple to Chongxiao Tower, from Kaifeng Mansion to Zhuque Lane, since I have committed my life to each other, life and death, why do I not want to listen to this person again when I leave?" "If there is no difference, why have you stayed here and hesitated to leave after the imperial trial? You hate others lying to you the most, but why do you always lie to yourself?" Zhan Zhao's two powerful words, one a confession and the other a revelation, left Qingcheng with no room to retreat. Many readers agree that Qingzhao's emotional progress in "Spring on the Other Side" is slow, but upon careful reading, each of Qingzhao's rival scenes has substantial progress. It's just that the emotional barrier between Qingzhao is too heavy and cannot be broken through for a while. With Zhan Zhao's deep and reserved personality, and Qing Cheng's involuntary difficulties, Qing Zhao's interactions at this stage are always covered with a hazy cloak of "righteousness is greater than love." Even if it is a quiet and tender scene with water puppets, "God bless the city" and "God bless Zhan Zhao", there is a little resonance in my heart, but it cannot be explained at all. In my opinion, this is also one of the fascinating charms of Qingzhaoqing. Qingzhao's love changes from quantitative to qualitative, which is the process of Qingzhao's pursuit of his true self and the return of his temperament. For Qingcheng, it is how to rise from escape and face this fateful relationship, while for Zhan Zhao, it is how to regain the true nature of a good-natured man as a dedicated official. In the chapter "Xu Ruma", facing Qingcheng who had just woken up from a hangover, Zhan Zhao clarified the relationship between Zhaohua, but he did not express his love to Qingcheng. "Back then, I caused my two brothers to lose their lives because of me. At that time, I swore that in this life, I would take full responsibility for everything and never hurt others again." If Zhan Zhao wants to completely break free from the long-standing mental constraints in his heart, it will not happen overnight. Between Qingzhao and Zhao is the relationship between infiltration and reverse osmosis. In the scene where Bai Yutang is determined to marry his wife, Qingzhao is tit for tat in the palace of the prime minister's palace, refusing to give in to each other. This scene initially made people a little disgusted with Zhan Zhao's pedantry and stubbornness, but Bai Yutang and Qingcheng's willful actions, and in the end it was up to Zhan Zhao to clean up the mess, which made people sigh. Qingcheng's sonorous words "What I want is just to meet my lover and finally get married" and her sad words "People will always do one or two stupid things in this life" promoted Zhan Zhao's original attitude and mentality to gradually change, combine internal and external, and finally fight side by side with Bai Yutang to fight Yulong Nuzhi. The moment Qingcheng appeared with the imperial edict, Bai Yutang's "eyes lit up and he laughed loudly: I knew you girl wouldn't miss the fun tonight", while Zhan Zhao "knitted his brows, looked past the crossbowman in front of him, looked at her face from a distance, and asked in a deep voice: Where have you been for most of the day?". In just a few sentences, not only the contrast between the temperaments of mouse and cat can be seen at a glance, but Zhan Zhao's unique and powerful deep concern for Qingcheng is also revealed. The point where Zhan Zhao's inner transformation changed from quantitative to qualitative was the change in Ruisi Temple on Qixi Festival. If it can be said that Yucheng and Yanbai had a rational basis for indirectly safeguarding the interests of Kaifeng Mansion, the changes in Ruisi Palace were entirely caused by emotion. "Revisiting the temperament of the past, it is difficult to calm down physically and mentally." In this scene, the most heart-wrenching thing about Zhan Zhao is, firstly, his decisive confession that "the subject and the princess are bound by a life-and-death covenant", and secondly, when he revealed his desire to die together to Qingcheng, he shouted sternly: "How can you be so confused! If you really do this, Even if I die, I will never forgive you for such a stupid thing." The third one is to tell Zhao Zhen the emotional mystery of repainting the portrait (this magical stroke is almost the same as the scene where Zhao Jue entrusted Zhao Zhen with the strategy of governing the country before his death). The combination of these elements makes the dramatic conflict transcend the cliché scenes of love rivals fighting, and at the same time indirectly maintains Zhao Zhen's emotional image. The scene in the Hall of Ruisi, although Qingcheng Tiansi's broken wrist is shocking, is still essentially Zhan Zhao's highlight moment. Ah Yi's title "Cicada Song Lie" is really appropriate. In "Chongquan Drinking", Zhan Zhao's "entrustment" to Bai Yutang is a continuation of this scene. First Bao Zheng, then Yue Hua, and then Qing Cheng. A Zhan Zhao with true love, true trust, and true justice has appeared on the page inadvertently by Ah Yi, and has become deeply rooted in people's hearts. Therefore, at the end of the Tokyo chapter, Zhan Zhao's emotional inner growth has been basically completed. In the subsequent scenes of repeated appointments and shoulder-to-shoulder wishes, Zhan Zhao's words and actions towards Qingcheng have firmly positioned the "promise of life and death" as a covenant of true love, rather than a covenant of friendship. Qingzhao's kiss at the gate on the night Yasu appeared was full of loss and melancholy, but it was also Zhanzhao's clear-cut move to show Qingcheng that he would never let go. If the Tokyo chapter is the process of Zhan Zhao's self-emotional awakening, then the northwest chapter is the process of Zhan Zhao's improvement of his mind and state of mind. Although he was also serving the country and the people, the war environment in the Northwest Chapter caused Zhan Zhao to directly suffer an unprecedented impact on the spiritual level. "In Jianghu, in Kaifeng, I have taken hundreds of lives", and he has been reflecting on "Who is really guilty of an unforgivable crime? Who should live in this world? Who should make the final decision about life and death due to the difference of one thought?". It is worth mentioning that the improvement of Qing Zhao's realm in the Northwest Chapter are complementary to each other. Haoshuichuan, Hanhaisha, Tiefutu, the progression of the hell on earth, elevated Qingcheng from the hatred of the country and family to the end of war and eradication, and also elevated Zhan Zhao from the eradication of evil and evil to the compassion for others. The Iron Buddha is the highlight moment when Ha Yi is "tailor-made" for Zhan Zhao, and it is also the moment when Qing Zhao truly connects with his soul. This moment of "Although there are thousands of people, I am leaving" is the moment when Zhan Zhao truly understands "what it feels like to lose the love of this life". This moment of "the strings are shaking and the blood feathers are burning" is the moment when the voices of Sang Yi, Ren Fu, Qingcheng and Zhan Zhao are integrated. "The bow is as hard as bone, and the string is as full as the moon. Thousands of plain lights, boundless hope, condense into one." In the article "Spring on the Other Side", in terms of the thickness of the scene, the scene where Zhan Zhao holds the bow and arrows and shoots at Yuan Hao is the best. Zhan Zhao, who has completed the dual growth of personal feelings and ideological realm, has been doing his part since then, supporting the second half of this novel with a comfortable maturity. Qi Chao Yun, Mo Shang Hua, Dashun City, Qing Ruo Li, Bai Lu Zhou, Suzaku Alley, Zhan Zhao is the active party in almost all scenes. It can be said that long before Qingcheng, Zhan Zhao had already achieved "advancing or retreating according to his heart". As Baidu netizen Sandra403 commented, Zhan Zhao at this time is "persistent but not dull, fierce but tender, and never hesitates when it is time to let go or when it is time to persist." It is no accident that Zhan Zhao has become the "most perfect" cat in the hearts of readers. In the article "Spring on the Other Side", Qingcheng's success lies in the unique charm of the character's personality, while Zhan Zhao's success lies in the true depiction of the character's growth. In my opinion, this article is not so much the growth history of Qingcheng as it is the growth history of Zhan Zhao. "No matter how hard things are, never change your original intention", this is the theme assigned by Ah Yi for Zhan Zhao in the article. So, what exactly does this so-called "original intention" refer to? The superficial understanding is of course "caring for the world and caring for the common people", but can it go further? In my opinion, although this cat-sama is suffering from all kinds of hardships, although he is burdened with many constraints, like Qingcheng, what he longs for in his heart is the "absolute freedom" that Hajime said. From Xiangyang Pian and Ouyang Chun's admiration for Bei Xia, who "has a clear sky in his heart" when he and Ouyang Chun parted, to his warm smile at Qingcheng in the slanting wind and drizzle: "Have you ever thought that one day, you and I can let go of everything around us and just go away, like wild cranes and wandering clouds, no more worries?" Isn't this desire for life and freedom a deeper "original intention"? Zhan Zhao's "May the wind blow like the snow in Helan", is the wind turning back to snow, or is the spring breeze turning into snow? When will Zhan Zhao truly realize that "all his wishes in his life will come true"? The main theme of the article "Spring on the Other Side", which is about looking back on the present and recalling the past, and showing compassion for heaven and earth, should echo this sense of "no matter how hard things are, we will never change our original intention." Considered from this perspective, Zhan Zhao finally completed his career change as a custom observer, which can be regarded as a compromise plan that had the best of both worlds prepared by Ah Yi for Zhan Zhao. At the end of the novel, "The birthday banquet turns into an imperial edict, turning everything upside down." The decisive monologue in the Flower Temple is the stepmother A Yi's final "devotion" to Zhan Zhao. In fact, it is not difficult to see that the entire return chapter is laid out for the "finale scene" of the Flower Temple. Ah Yi said in the postscript that when Zhan Zhao broke the contract and let go at the Flower Temple, and then prayed for God's blessing on Qingcheng, "I am deeply touched by such a love of flesh and blood." This relatable love is naturally Zhan Zhao's love for Qingcheng, but is it not A's love for Zhan Zhao? No matter how dazzling Su Guang is, no matter how sorry Ha Yi is for not being partial to Zhan Zhao, the coffin is finalized, Spring on the Other Side, still cannot but be said to be a Zhao article. In this regard, the comment from Vivian, Hajime's old friend, couldn't be more pertinent: "It was hidden in the final chapter, and I realized that the heroine had misled me. Hajime's true love is indeed a cat. It has always been a cat."

I have hurriedly reviewed the Tencel and Double Swords in the article "Spring on the Other Side". Next, I want to talk about the two musical instruments Yuhubing and Yunfengxue, as well as the intersection of these two instruments - Lu Shuangqu. Ah Yi has emphasized many times that the most important character in the novel "Spring on the Other Side" is none other than Fan Zhongyan. From the perspective of the structure of the article, Fan Zhongyan appears in the beginning playing Lu Shuang's Song, and the epilogue ends with Fan Zhongyan writing the Yueyang Tower Notes. Since Fan Zhongyan's status is so important, Ah Yi naturally uses some of his inherent symbolic elements as the connecting images of the entire text. The symbol chosen by Ha Yi is Lu Shuang. Everyone should be familiar with the title Fan Lushuang. Lu You's "Notes of Laoxue'an" records: "Fan Wenzhenggong likes to play the piano, but he only plays Lu Shuang on weekdays. People at that time called him Fan Lu Shuang. I searched on Baidu and found that the word "Lu Shuang" comes from "Poetry. Wei Feng. Ge Wei": "If you are entangled with Ge Wei, you can Lu Shuang. "In addition, there is also the meaning of remembering relatives when the time comes. For example, "Book of Rites. Sacrifice" says: "When frost and dew fall, a gentleman will feel sad when he walks on it. It is not called cold." " Not surprisingly, in the same way as he did with Zhanlu Chunjun's Double Swords, Ah Yi adopted the old method of putting new wine in old bottles in the process of running Lu Shuangqu. Qin Cao records: "Lu Shuang Cao was written by Yin Jifu's son Boqi. Boqi was not guilty, but was expelled because of his stepmother's slander, so he gathered wildflowers for clothing and mulberry flowers for food. In the morning, when I was walking in the frost, I hurt myself and saw that it was released, so I performed this exercise with the aid of the piano and drums. At the end of the song, he threw himself into the river and died. "In the article "Spring on the Other Shore", Ah Yi started from scratch, completely abandoning the real historical origin of Lu Shuangcao, and conceived a brand new story. Walking on frost is the theme of Wedge. "The autumn wind knows the strong grass, so why be afraid of walking on the clear frost. Tonight or later, if I hear Master Fan's clear voice again, it is not in vain that I have been running all the way. "Zhan Zhao's first line in the article highlights the word "Lu Shuang". In the wedge, Ah Yi borrows Fan Zhongyan's mouth to say that the most magnificent and heart-wrenching song "Lu Shuang" was not performed by Fan Zhongyan, but came from the ensemble in the dusk at the top of Dashun City. Later, Mr. Fan said: "In my lifetime, if I can hear you two playing this Lu Shuang song together again, I will die without regrets." "This points to the separation of Qingzhao's lovers. Here, following Zhan Zhao's gaze, we see the three characters "Jade Pot Ice" on the guqin, and "Looking closely, there are mottled dark red traces under the black paint." At this time, we still don't know where these dark reds come from. This detail will not be echoed in the cause and effect relationship until the Tanabata incident in Tokyo's Reisi Temple. "Looking from afar, the cold mountains are heavy, and Hu Qi has disappeared without a trace. The scarlet clothes are ringed with green sleeves, and the Qiang flute comforts the silk tung trees. Wherever I go in this life, I hope I will be with you. "The five-character short poem that appears in the wedge is I think the most successful original poem by Ah Yi in the whole novel. From this short poem, we know that the so-called ensemble is the ensemble of Yaoqin and Qiang flute. And then at the end of the wedge At the end, "as white as cloud peaks and snow" and "as clear as jade pots of ice", the names of the two musical instruments are in harmony and are finally presented to the readers in the form of narration. However, compared to jade pots of ice, Yun Fengxue is still far away from the readers. One more thing, I always have some questions about the setting of the piano and flute ensemble. I understand that the guqin is usually played solo, rarely in ensembles, and even less so with the flute. I don't know what Ha Yi thought about this setting. Maybe a flute and qin ensemble would be more suitable? After the wedge, the Xiangyang chapter begins as the story of Qing Zhao's first encounter. There is no space or clues left for Lu Shuang in the tight and thrilling plot of Spring Cold. It was not until the chapter "Farewell to Sophora japonica" in the Tokyo chapter, in the gentle summer time in the backyard of Daxiangguo Temple, that readers finally followed Yan Rusi and listened to Qingcheng's performance of Lu Shuang's song. In this scene, Ha Yi obviously used the writing method of "wanting to rise first and then suppressing". Not only did he not give the title of Lu Shuang's song, he did not even highlight Qingcheng's playing skills. Instead, he said that the song was "somewhat unfamiliar, intermittent, and I don't know when to remember it when I relive it." As a listener, Yan Rusi was also absent-minded, focusing on reminiscing about various past events with Bai Yutang. So when Qingcheng asked about her feelings after finishing playing, Yan Rusi could only answer with four words: "It's hard to describe in a word." The story of Jun Buwu in the Night at the Prime Minister's Mansion finally made the ins and outs of this indescribable Lu Shuang completely and formally presented to the audience. In the valley, in the morning light, in front of the handsome young man, the girl in purple "sat on the edge of the stone pool with a short harp on her lap. She lowered her eyebrows and played the piano, and her music was pure and bitter, as if expressing her true feelings. "At this time, the sky is getting brighter, and the cold dew from the night before by the stone pool has turned into clear frost all over the ground." "This fairy scene, for some reason, reminds me of the scene where Dai Qisi, the dragon king in purple clothes, steps on the ice and enters the lake. Maybe it's because of the setting of purple clothes. In any case, in A Yi's writing, Gongsun's majesty, He's reluctance, A'zi's persistence, and Yan Ying's skillful hands are all in this scene. They came together in one place and condensed into the word "Lu Shuang". And Ah Yi specially arranged for the fourth lady to give another side interpretation, pointing out that Yan Xilai named Lu Shuang from "Jian Jia Cang Cang, white dew is frost". Yes, think of the words "can't get what you want, sleep hard and think about it" in the following part of "Guan Ju", Lu Shuang is actually the musical version of the word "can't get it". On the night of the Chinese Valentine's Day, starting from a faint sentence about the double-barreled Qiang flute in Zhan Zhao's room (Yun Fengxue had not yet been named at this time), Lu Shuang finally transitioned and inherited the previous love between Yan Xilai and A Zi to Qing Zhao. On this night, the jade pot of ice also officially appeared, becoming one of the most important images in the Tokyo, Northwest and Return chapters until the end. A heart of ice is in a jade pot. On the guqin Yuhubing, the wishes of Queen Guo and Zhao Zhen's royal version of "White-headed Double Stars" were entrusted. The plot of "resuming the string" is used to connect Empress Guo's past events and develop Zhao Zhen's complex. This setting of Ah Yi is really very clever. But this love has become a tragedy, and the message is not human. "If the seven strings are broken again, the dead tree will never spring." Zhao Zhen's dream of a heavenly family is ultimately unattainable. In the northwest chapter, Zhao Zhen gave the jade pot of ice to Qingcheng who was far away in Yanzhou City. This is just like the scene in Jiang's drama where the jade pendant comes with the harp and gives it to Xiao Si on the orders of Lao Si, using the harp to express love. No wonder Zhan Zhao was still brooding about it until the chapter on Bailu Zhou in the Return Chapter, "You can play all the pianos in the world, but I don't want you to touch the jade kettle of ice again in this life." "As Ah Yi said in the postscript, cats do like to be jealous. This is also the emotionally strong personality set for Zhan Zhao in the article "Spring on the Other Side". However, the more important significance of the plot of giving Qin is to reunite Qin and Di to prepare for Dashun City. In the chapter "Mo Shang Hua", Zhan Zhao The Qiang flute that Zhao inherited from Yan Xilai finally got the name Yunfengxue from Fan Zhongyan. In the fisherman's pride at the top of Dashun City, "the cloud peaks are cold in the snow, the jade pot is ice-clear, and the frost melts with love", which finally completes the final scene in A Yi's mind, and also completes the return of the classic short poem foreshadowed in the wedge. "Looking from afar, the cold mountains are heavy, and Hu Qi has disappeared without a trace. "When Fei Yuqi's figure disappeared on the horizon, Qingcheng's persistence was finally dissolved. "Crimson clothes ring green sleeves, and the Qiang flute comforts the silk tung trees. "The comfort in the warm embrace comes from Zhan Zhao's firm watch. And "Wherever I go in this life, I hope to be with you" is the common ideal deep in Qing Zhao's heart. The lonely city night with long smoke and sunset, the pride of the fisherman's family that will be passed down to future generations, and the frosty song of knowing and comforting each other, constitute an impeccable three-dimensional space. In this night of farewell, when the soul in the dark country is chasing thoughts, after experiencing thousands of twists and turns, At the time of reunion, in the desolate state of the Qiang Guan Youyou frost-covered land and the white-haired husband crying, Qingzhao co-created Lu Shuang, not because of his skills, but because of this specific time and space, it has become an eternal out-of-print. I think even Qingzhao will be difficult to copy. It is no exaggeration to say that this scene is the most classic and important scene in the whole novel. In the chapter on the return journey, Qingcheng presented a music score and left a musical instrument at Guanqiao Station, and handed over the jade pot Bing and Lu Shuang to Fan Zhongyan, thus returning the historical story of Fan Lu Shuang to its origins. Of course, there was a time when Yu Hubing returned to the palace. To untie the bell, the person who tied it needs to be tied. Since the jade pot ice came from Zhao Zhen, the last piece of frost in Qingcheng was left to Zhao Zhen. The scene of Qingcheng admonishing Zhao Zhen to revise the marriage edict was all told side by side in Yan Shiliang's mouth, but this description touched me extremely: "... On this piano, there is Su Guang's blood and His Majesty's feelings... My heart is full of seven strings at this moment. Your Majesty is willing to listen. Well... If your majesty still refuses to change the edict after listening to this song, Su Guang will leave immediately without any complaints..." Although I don't fully agree with Qingcheng Su Huatong's choice, the determination and sadness contained in this passage cannot help but be deeply moving. Alas, as Ah Yi said, Zhao Zhen was forced to listen to this last song under such circumstances. The pain and helplessness of his situation is really pitiable. The matter of Suo Linxiang can be said to be a mistake that will lead to eternal hatred. Wrong, wrong, wrong. "The ground is covered with frost and the sky is blue, and a song is filled with sadness and sadness." This poem in the copy clearly describes the taste of Lu Shuang from the very beginning: bitter. Ah Yi, the stepmother, drinks Qikku tea, listens to Lu Shuang's music, and writes heart-wrenching essays. She suffers to the end and never looks back. She is truly the leader of Huanglian! As white as the snow on the cloud peaks, as clear as the ice in the jade kettle, this pairing obviously uses the phrase "as white as the snow on the mountain, as bright as the moon between the clouds" in the poem "Baitou Yin", and also indirectly connects the image of "Wish to win the heart of a person, and we will never be apart" in the poem "Baitou Yin". Yunfengxue, jade pot ice, Lushuangqu, sky and water blue, white-headed double stars, different characters, different stories, the same expectations, the same dreams, in the end, in the connection of these related images, they all boil down to the compassion for "all sentient beings are sinful, and no one is not crazy". The last scene in the book is Master Fan walking under the frost in Huazhou Academy. Chuanzi said, "This song is meaningful. No one has passed it on. It just goes with the smoke." At the end, he said, "It completely disappears in smoke. The only one who can hear it is Liang Jian." In my mind, if you want to achieve the effect of "this song is intentional and will eventually be passed on", you need a solid HE. Only when Qingzhao truly meets again in the studio and the story slowly narrated in Lu Shuang's song can it be like Ah Yi's conclusion at the end, which can be endlessly played, lingering in the air, and finally become a masterpiece that will last forever and be soul-stirring. Ha Yi, hurry up and fix the ending! Alas, I spent most of the night typing words for Lu Shuang's long review, but I was actually just talking on paper. It seems it's time to download Lu Shuangcao's MP3 and listen to it for real: P

If we can live side by side from now on, why bother to be apart for three years?

Ask the world, what is love? There are so many idiots in ancient and modern times. . .

I like Hajime's ending! I finished reading it on my mobile phone on June 1st, and I just left a message on the page today. I will write a long comment IOU here, and I will code it slowly when I get home.

Unexpectedly, the first (and perhaps only) feature film of Toad Palace would be released just like this. I still remember that when I was the editor of the garden journal in Changping Garden, I was in charge of the literary review column, and I would go to Toad Palace to request manuscripts from time to time. Who would have thought that today it would be my turn to write a review for Toad Palace's works, and I couldn't help but sigh with the will of God. It is shameful to say that during the four years in Yanyuan, he looked like a literary young man, writing novels and composing poems, feeling regretful in spring and sad in autumn. He was very busy, but now there are only sporadic old dreams left, which he occasionally checks, and the youthful spirit has been wasted. Even for this review, I almost don't have the courage to write it. However, the literary debt must be repaid eventually, because of the nineteen-year friendship with Xie Yu, because he is one of the prototypes of the heroine, because of Toad Palace's earnest entrustment, and because of an old dream that he can't let go of in his heart. I still remember when the drama "Bao Qingtian" became popular all over the country, as a young and ignorant little girl, how many times was my heart fluttered by the handsome figure in red robe. Now this name has turned into a chivalrous love story in Toad Palace's writings. How can we not make people fascinated by it? This work of Toad Palace can also be said to be full of good things. This article was created in the autumn of Ji Chou. However, after one chapter of "Wish on the Pillow", the dragon disappeared and disappeared. It was not until this spring that the dragon reappeared to complete the jade. During this period, five years of cold and hot weather have passed, and the author and readers are not in the same state of mind as they were back then, and they look back with regret. Although the charming city described in Toad Palace is far from the real Toad Palace that Aji is used to seeing, it can be said that the author relied on his own thoughts. Unparalleled in splendor, ill-fated, cold as ice, aloof and untamed, if not for this work, how could we have a glimpse of the other side of Toad Palace behind the face of a good wife and loving mother? As for Zhan Mao, a good man with chivalrous bones and a soft heart as gentle as jade, although he has a heart-warming love with Aji Su, but placed beside Qingcheng, he has to be overshadowed (no wonder in the Toad Palace). As for whether the ending of this article is HE or BE, it is inevitable that people will have different opinions. Although all the friends around me would rather see lovers finally get married, they secretly thought that Toad Palace had already paid all their HE to the Egret Boat. If Qingzhao joins hands and goes into seclusion without caring about worldly affairs, the world will have a good story about a couple of gods and immortals. However, Toad Palace did not choose to end at this time, perhaps because of the pessimism deep in its bones. And when Wen arrived at the academy, regardless of the three years of separation and separation, even though the two were dependent on each other from then on, Zhan Mao still worked day and night as a driver for the government. It was difficult to retaliate after losing all his martial arts skills. Miss Ding San spent her time alone in the countryside. Ah Ji secretly thought that it was not HE but a reality. Ending and helplessness. All emotions are painful, the spring on the other side is deep, sigh. When it comes to the most interesting points of this article, Aji thinks that one is "love" and the other is "history". Taking emotion as the classic and history as the weft, emotions create literature, and the situation changes with history. It is both real and illusory, and it is indescribable. Let's talk about "emotion" first. All sentient beings are sinful, and no one is unjust. The bitterness is like Qingzhao, the deep affection is like Yan Bai, the sadness is like Nalan, the infatuation is like moonflower, the pride is like Lord Sang, the eroticism is like Ifahan, it reaches the warning fairy song of Taixu Tujuan, which makes people sigh and then feel compassion. Let's talk about "history" again. This work of Toad Palace originated from the history of the Song Dynasty, and I also searched various miscellaneous history notes and geographical Xingtong (the so-called true character, a smile). All kinds of people who are familiar to us in this generation appeared one after another, and there were surprises one after another. Not to mention the beauty of Xiangyang, the prosperity of the capital, and the vastness beyond the Great Wall. Sometimes there are songs and dances, and sometimes there are iron horses and golden swords. They come one after another, which is dizzying. At this point in my life, I can write! The writing of this work especially shows the author's ancient prose skills. Poems, lyrics, and rhymes can be picked up casually, and with a little color, they can be transformed into the current situation, and every scene and emotion all coincide with each other. The dialogues of the characters are often heard from the red mansions in Jianghu, which is also one of the great pleasures of reading this article. As for the brilliance of Yasu, the generosity of Moleh, the loneliness of the official family, the suaveness of the fifth master, and even the grandeur of the scene, the swaying of the writing, the interspersed shadows, and the gray lines of grass and snakes, let's leave it to other evil comments. The dust of the past cannot be looked back on, and it is difficult for a dry pen to produce flowers. Throwing bricks may attract jade. Ah Ji only hopes that she still has some spare time in this life, so that she can carefully batch and approve this work, so that it can live up to the expectations of the Toad Palace with a fat inkstone. At this point in the article, I can still see clearly the situation of accompanying various evil spirits for 19 years, and I am ready to call it out. I present this piece of my humble work as a congratulations on the huge project of Toad Palace. I have only my personal intention and hope to accept it with a smile. Reminiscing about our first acquaintance, you are just a young man. Cardamom In early February, the spring breeze rolls up the bead curtain. My classmates are God's will, but mathematics and science are not my wishes. Each article has its own reasons, and it can lead to the continuation of the previous relationship. She started in Yihai year, and it rained heavily in early summer. When I moved into the room, it was dimly lit, and I felt sleepy in the afternoon. The dulcimer in the corner of the house has become dusty over time. The old master gave a wonderful finger, and the voiceless sound came back to me in dreams. Friends, the inspiration is clear, and the article is written like a god. From then on, he was gradually rewarded and exchanged many wonderful articles. One day, there was a sudden discussion, and the society was named Xieyu. If you don't conspire with Zheng Zheng, how can you be safe and sound? The name was initially decided, Peijun, Dingqiji. The public is still not tired of it, and the other names are dependent on each other. There are lay people who listen to the flute, and they are just passers-by. The old owner of Toad Palace is a gentleman with strong roots. There is only one leaf, and the teeth are so young that they are attached to each other. Fortunately, I have many friends, and I have gained wings from now on. Listening to the flute and stealing power, the five evil spirits lined up. I have a close friend for a long time, and I always behave well. Pity all the teachers, they are innocent enough to serve as poetry material. Ji's family fled away, and Zhang Weng followed closely. There are many witty words, but the lessons are occasionally neglected. The elder smiled and said nothing, admiring each other. Turning to the West Flower Hall, you feel like you are returning to a paradise. Day and night form the same shadow, and I don't realize that the sun is fading. Soon the gold list was released, and everyone on the list got what they wanted. I am even more happy to enter the Yanyuan, and the Toad Palace can accompany me. At this time, I am still a young man, Xinxin is doing business. All dreams are held in the arms, but parting is still unsolved. The style of the century is compiled, and manuscripts are requested every day. I visited my old master from time to time and returned with wonderful writings. One day I write beautiful thoughts, and I become famous in Luoshen. I am obsessed with my old master, and he repays me with the dream concubine. All the evil spirits also miss each other, and the wild geese come and go frequently. There must be harmony when the sentences are complete, and every meeting makes me happy. When Xin Si was traveling to the bottom of the country, he first met the young man's sorrow. We slept together and talked at night together, unaware of the waning moon. Yiyou is watching the thunderstorm, and the moon is bright near the Mid-Autumn Festival. After the play, we take advantage of the entertainment and enjoy the boat ride on the sea. The most vivid memory is in Bingxu, Princess Duma Lake. It rains in the reeds at night and looks at the small wooden house. There are gatherings and separations in life, and time passes without realizing it. Relying on the shadow of the past, I can vaguely distinguish the beauty. Unexpectedly, the Lord of Toad Palace was generous and wrote strange things. There are 370,000 brilliant flowers, called Spring on the other side. All evils are originally silent, but I am delighted to hear this. Looking forward to a longer period of time and wonderful reviews. It took five years to complete the jade, and I covered my head with a long sigh. A hundred years from now, who will know this?

Lou Da is really awesome. It took him five years to write such a masterpiece using this literary style of classical Chinese, and it also allowed Di Shuai to live a lonely life five years later according to the original plan five years ago. He really can be regarded as "despite all hardships, he will not change his original intention." This is very comparable to other people. I hereby give you tens of millions of "likes": D

The character Su Guang is far less emotionally clear than Master Zhan. Can her love simply be summed up as either dying for you or not dying in front of you? In contrast, Zhan Zhao is a real man, and her comfortable smile is what he wants in his life. In order to complete her revenge and then die for love, in order not to put her in a dilemma, he waited quietly not far away, in order to relieve the pain in her heart, he forced her to stay by his side, and finally let her go in order to relieve the tiredness in her heart. No matter whether he persisted or gave up, it was all for her. But thinking about how Su Guang could not bear to put him in pain just to avoid dying in front of him. She was the one who suffered for him, but did she understand? . . . .

When we are together, we will spend time together, and when we are apart, we will cherish each other.