Jiufujin Is a Gold-Swallowing Beast [Qing Chuan]

To be honest, I understand it emotionally, but rationally speaking, it is not a good thing for anyone if a god steps down from the altar. There is a limit to a person's psychological endurance. Gods possessing human hearts will only make my scalp numb, because people are fickle. Once they have extremely powerful power, how many people will not get lost in it and become arrogant over time? Because you can use absolute power to solve problems simply and crudely, you will gradually stop thinking about how to solve complicated problems. The consequences of this final evolution are terrible. In the eyes of others, you have become too much, but you yourself are not aware of it. Unless someone better than you wakes you up violently, but here's the problem, if you are the number one, whose advice will you listen to from the bottom of your heart?

Strawberry candied haws are just delicious! ! Two people who can't communicate and express their feelings sadly missed their last life! Xiaoci should loudly protest that Pei Yue is addicted to life and refuses to listen to him. Pei Yue should tell him everything about his thoughts and original intentions. Don't run away, don't hide, and stay together. It makes me anxious!

At the transition stage, the prefrontal cortex of the brain (responsible for decision-making and impulse control) is still developing, while the limbic system (responsible for emotions) is relatively mature. This explains the contradiction in Nian's behavior: she has the innocence of a child ("Big brother, they bully me") and the maturity beyond her years ("It's already hard to live, why do you have the right to like anything"). Hua Fangu establishes a connection with Nian through the pendant, which can be regarded as a kind of "development guidance" - just like an adult individual taking care of a young individual to help them complete the socialization process. --- 5. Psychological Perspective: Attachment, Cognition and Trauma 5.1 Interpretation of attachment theory The line read "Mom is dead, dad doesn't want us anymore" reveals that she may have experienced early attachment trauma. According to Bowlby's attachment theory, early separation from a primary caregiver can lead to insecure attachment patterns. Nian's statement suggests that she may have developed an "avoidant attachment" - she claimed that "there is nothing she likes", which may be a defense mechanism of emotional repression to protect herself from further harm. When Nian hugged Hua Fangu's waist and said, "Big brother, they bully me," this sudden attachment behavior may be a manifestation of "disorganized attachment" - in strange situations, she both seeks closeness and shows resistance, reflecting the chaos of early attachment experience. 5.2 Piaget's framework of cognitive development From the perspective of Piaget's theory of cognitive development, 11-year-old mind is in the transition period from the "concrete operational stage" to the "formal operational stage". She can understand conservation concepts ("Don't be too greedy"), but may not yet fully grasp abstract thinking. However, some of Nian's expressions ("It's already difficult to live") show existential thinking that transcends age, which may stem from the catalytic effect of traumatic experiences - adversity often accelerates cognitive maturation. Nian's reaction to Hua Fangu's pendant ("don't recognize") might be 5.4 Interdisciplinary multidimensional evaluation of Chapter 4 "Pendant" of Group Dynamics "Osmanthus" Introduction: When literature meets science Chapter 4 "Pendant" of "Osmanthus" uses exquisite narrative to construct an alien scene full of tension. This chapter takes Hua Fangu, Chu Qianli and others' encounters in the Amethyst world as the main line. It weaves a complex picture about identity, loneliness and redemption through Chen Ze's severe pain when he touches the Amethyst, the plight of Zheng Zhiyang's team, and the mysterious appearance of the pink-haired girl "Nian". This article will break through the traditional interpretation and reveal its deep aesthetic value and ideological connotation. --- 1. Mathematical Perspective: Narrative The "exhausted" state of Zheng Zhiyang's team can be metaphorized by the second law of thermodynamics. In a closed system, entropy always tends to increase. The team members' continued tension, running, and fear are equivalent to the system's continuous work, resulting in the continuous dissipation of available energy (physical energy, mental energy), and the continuous increase in the disorder (chaos, despair) of the system. Zheng Zhiyang's decision to negotiate with Nian is equivalent to finding a "Maxwell's Demon" in the irreversible process of entropy increase - trying to reverse the local entropy increase trend and strive for a low-entropy way out for the system through the acquisition of information and active intervention. --- 3. Chemical Perspective: Bonding, Reaction and Catalysis 3.1 Chemical bond metaphor of character relationships The formation of chemical bonds requires specific electron configurations and energy conditions, and the establishment of character relationships also requires matching personalities and situations. In this chapter: - Ionic bond model: The relationship between Chen Ze and Duan Qing is similar to an ionic bond - Chen Ze (the lively "cation") needs the comfort of Duan Qing (the steady "anion") to be stable. When Chen Ze was in pain, Duan Qing's care (charge neutralization) restored the system to balance. - Covalent bond model: The relationship between Hua Fangu and Chu Qianli is similar to a covalent bond - the two share an "electron pair" (tacit understanding and trust), forming a stable structure. The conversation between them is brief but informative, embodying the directionality and saturation of covalent bonds. - Hydrogen bond model: The relationship between Zheng Zhiyang and his team members is similar to a hydrogen bond - although it is weaker than a covalent bond, at critical moments ("Brothers are meant to live and die together"), this weak interaction converges into a powerful collective force. 3.2 Activation energy of reaction The appearance of Nian can be regarded as a triggering event for a chemical reaction. In chemical kinetics, a reaction needs to overcome the activation energy E_a in order to proceed. In this chapter, the reason why the "chemical reaction" (from hostility to dialogue) between Zheng Zhiyang's team and Nian has not occurred is because there are high activation energy barriers - fear, misunderstanding, and wariness. The appearance of Hua Fangu acted as a catalyst: he lowered the activation energy of the reaction, allowing the "reaction" that originally required intense conflict to proceed gently through dialogue and the resonance of the pendant. The catalyst itself does not change before and after the reaction, just as Hua Fangu maintained his calmness and wisdom during the process. 3.3 Metaphor of crystal structure Amethyst, as a crystal, has a regular lattice structure and specific symmetry. A crystal's properties (such as hardness, refractive index) depend on the arrangement of its atoms. The "other world" in this chapter can be regarded as a huge "social crystal": - Zheng Zhiyang's team represents the regular lattice structure (discipline, organization) - Thought is a "defect" or "impurity" - her existence breaks the periodicity of the crystal lattice and generates a local stress field (tension) - Hua Fangu's pendant resonates with Nian, suggesting the interaction between "flaw" and "flaw" - two unconventional beings can recognize each other Interestingly, defects in crystals often determine many important properties of materials (such as conductivity, strength). Similarly, the existence of this "alien" may be the key "flaw" that promotes the development of the story. --- 4. Biological perspective: adaptation, immunity and symbiosis 4.1 Stress response and adaptation Chen Ze's physiological reaction (pain, pale complexion, accelerated pulse) after touching the amethyst was a typical stress response. From a biological perspective, this is the result of activation of the sympathetic nervous system: the adrenal glands secrete adrenaline, which causes the heart rate to increase, blood pressure to rise, and blood sugar to rise in preparation for "fight or flight." However, Chen Ze's reaction was too violent, suggesting that his "allostatic load" had been overloaded. Adaptive load theory states that long-term or intense stress can wear down physiological systems and lead to health problems. As a newbie who "entered another world for the first time as an adult", Chen Ze's physical and psychological adaptability has not yet matured, so his reaction to Amethyst was particularly strong. 4.2 Metaphor of the immune system I would like to regard Hua Fangu and others as intruders who have "crossed the line". This reaction is similar to the immune response of an organism. The immune system protects the body by identifying "self" and "not-self". Nian recognizes the "heterogeneity" of Hua Fangu and others through some mechanism (perhaps the perception of breath or the induction of pendants). However, Nian's reaction is not a typical "immune attack" (direct destruction), but more like "immune regulation" - she is "playing with them", swinging between threat and tolerance. This behavior suggests that the idea may have some kind of "immune tolerance" mechanism that can distinguish between "harmful intruders" and "harmless passers-by". 4.3 Establishment of symbiotic relationship Symbiotic relationships in biology include mutualism, symbiosis and parasitism. At the end of this chapter, Hua Fangu said "I can take you out of this place", hinting at a potential mutually beneficial symbiotic relationship: - Want to get the chance to leave another world (escape from loneliness) - Hua Fangu gets recognition and possible help from Nian (unraveling the mystery of the pendant) The establishment of this relationship requires overcoming the "ecological niche" difference - Nian is an "alien" or "hybrid", while Hua Fan comes from the outside world. The establishment of a connection between individuals of two different "species" (or worlds) is similar to "cross-border symbiosis" in biology and requires a high degree of adaptability and trust. 4.4 Developmental biology perspective Nian's age is 11 years old, which is a critical developmental stage. From a developmental biology perspective, 11-year-olds are in the transition stage from childhood to adolescence. The prefrontal cortex (responsible for decision-making and impulse control) of the brain is still developing, while the limbic system (responsible for emotions) is relatively mature. This explains the contradiction in Nian's behavior: she has the innocence of a child ("Big brother, they bully me") and the maturity beyond her years ("It's already hard to live, why do you have the right to like anything"). Hua Fangu establishes a connection with Nian through the pendant, which can be regarded as a kind of "development guidance" - just like an adult individual taking care of a young individual to help them complete the socialization process. --- 5. Psychological Perspective: Attachment, Cognition and Trauma 5.1 Interpretation of attachment theory The line read "Mom is dead, dad doesn't want us anymore" reveals that she may have experienced early attachment trauma. According to Bowlby's attachment theory, early separation from a primary caregiver can lead to insecure attachment patterns. Nian's statement suggests that she may have developed an "avoidant attachment" - she claimed that "there is nothing she likes", which may be a defense mechanism of emotional repression to protect herself from further harm. When Nian hugged Hua Fangu's waist and said, "Big brother, they bully me," this sudden attachment behavior may be a manifestation of "disorganized attachment" - in strange situations, she both seeks closeness and shows resistance, reflecting the chaos of early attachment experience. 5.2 Piaget's framework of cognitive development From the perspective of Piaget's theory of cognitive development, 11-year-old mind is in the transition period from the "concrete operational stage" to the "formal operational stage". She can understand conservation concepts ("Don't be too greedy"), but may not yet fully grasp abstract thinking. However, some of Nian's expressions ("It's already difficult to live") show existential thinking that transcends age, which may stem from the catalytic effect of traumatic experiences - adversity often accelerates cognitive maturation. Nian's reaction to Hua Fangu's pendant ("not recognizing") may be a failure of "cognitive assimilation"—she is unable to incorporate the pendant into her existing cognitive schema, and therefore chooses to deny its meaning. This cognitive conflict leaves room for subsequent plot development. 5.3 Characterization of post-traumatic stress disorder (PTSD) Nian's behavioral patterns show some characteristics of PTSD: - Hypervigilance: She can sense the hiding of Zheng Zhiyang's team ("all five senses are very sharp") - Avoidance: Her claim that she has "nothing she likes" may be a sign of emotional numbness - Re-experiencing: Her strong reactions to "crossing the line" and "grabbing things" may have triggered memories related to past trauma Hua Fangu's gentle treatment ("It must be hard for such a young girl to be alone") can be regarded as a kind of "trauma-informed care", which promotes Nian's recovery by establishing a sense of security. 5.4 Group dynamics The collective response of Zheng Zhiyang's team in moments of crisis ("Brothers are meant to live and die together") embodies the concept of "cohesion" in group dynamics. According to Tuckerman's group development stage theory, the team has transcended the "formation period" and "shock period" and entered the "normative period" or "execution period" - there is a clear division of roles and a strong sense of belonging among members. This kind of group cohesion is manifested in the behavior of "risk sharing" in times of crisis - even in the face of unknown dangers (thinking), the team members choose to face it together with the captain. This behavior has both a basis in evolutionary psychology (group survival advantage) and an explanation in social psychology (social identity theory). --- 6. Sociological Perspective: Boundaries, Deviance and Identity 6.1 Construction of social boundaries Nian accuses Hua Fangu and others of "crossing the line", which implies that there is some kind of social boundary in the other world. Boundaries are socially constructed and serve to distinguish "in-groups" from "out-groups", "legitimate" from "illegal". As an aboriginal (or long-term resident) of another world, Nian has a strong sense of protecting borders. Such boundaries may have multiple dimensions: - Space boundary: a physical "line", entering is considered an invasion - Normative boundaries: Code of conduct, such as "grabbing something" is considered deviant - Identity boundaries: the distinction between "alien" and "outsider" 6.2 Deviance and labeling theory From the perspective of labeling theory, Hua Fangu and others were labeled as "deviants". Labeling theory believes that deviant behavior itself is not objective, but the result of being defined and labeled by society. Nian's attitude toward Hua Fangu and the others ("to play with them") shows that she doesn't exactly view them as "dangerous deviants", but rather as somewhat of a "minor violator" - which explains why she doesn't take immediate fatal action. The line "Uncle, you can't be too greedy" reflects her moral judgment on the deviant behavior of "greed". This judgment is based on some shared values, suggesting that Nian may have received the moral education of human society (consistent with the setting that she can speak Chinese and may be of mixed race). 6.3 Cultural capital and symbolic power Hua Fangu is able to recognize the Chinese mouth patterns of reading, which reflects the "cultural capital" (Bourdieu's concept) he possesses. In an alien environment, language is a scarce resource. Mastering multiple languages ​​(or being able to recognize languages) gives Huafan the power of symbols - he can decipher Nian's true identity (hybrid), thereby establishing the possibility of communication. As symbolic capital, the pendant establishes a certain "symbolic connection" between two people. Even if Nian claims "no recognition", the pendant's physical reaction (luminescence, vibration) has already conveyed information beyond language. 6.4 Social mobility and opportunity structure Hua Fangu proposed "I can take you out of this place", which is a proposal about social mobility. From the perspective of sociological structural functionalism, Nian being trapped in an alien world is a "structural constraint" - her identity (alien/mixed race) limits her opportunity structure. Hua Fangu's proposal provides an opportunity to "deviate", allowing Nian to break through structural constraints and enter a new social space. However, Nian's doubts ("Don't try to trick me just because I'm young") reflect the rational understanding of the opportunity structure of the underlying group - historically, disadvantaged groups have often been wary of the motivations of "saviors" because they have experienced too many false promises. --- 7. Philosophical Perspective: Existence, Others and Ethics 7.1 Existential loneliness The line read, "It's already hard to live, why do you have the right to like anything?" Is a literary expression of existential philosophy. Sartre believed that existence precedes essence, and that people first exist and then define themselves through choices. The expression of Nian implies that she is in a state of being "thrown into the world" (Heidegger's concept) - she cannot choose her birth (mixed-race identity), her mother's death, her father's abandonment, and can only "live" under given conditions. This state of existence deprives Nian of her "likes" (preferences, desires, pursuits), reducing her to pure "existence" rather than "living". The appearance of Hua Fangu may provide her with the possibility of making a new choice - by leaving the other world, she may regain the freedom to define herself. 7.2 Ethics of the Other Levinas's ethics of the other emphasizes that ethical relationships begin with the face of the other. The face is not only a physical face but also a representation of the vulnerability and uniqueness of the other. When Nian "blinked his big watery eyes" and looked at Chu Qianli, the appearance of this face triggered an ethical response - Chu Qianli "silently retracted his hand." Hua Fangu's attitude towards Nian embodies what Levinas calls "responsibility for others" - he does not regard Nian as a threat or tool, but as an existence that needs to be responded to. "It must be hard for such a young girl to be alone." This sentence is not sympathy (condescending), but empathy (feeling equally), and it is the establishment of an ethical relationship. 7.3 Kant's moral imperative The line "Don't be too greedy" can be seen as a popular expression of Kant's "categorical imperative". Kant's moral philosophy emphasizes that the moral value of an action lies in the motivation (good will) rather than the result. "Not being greedy" as a moral principle is universal - if everyone is greedy, society will not survive. Hua Fangu proposed to take Nian away, and Nian's question ("Did you save the alien or something?") Reflected her questioning of motives - she wanted to know whether Hua Fangu's behavior was out of obligation (duty) or out of preference (inclination). This questioning itself is a manifestation of moral awareness. 7.4 Zhuangzi's Theory of Equality of Things From the perspective of Taoist philosophy, Nian's pink hair, the identity of the alien, and the mysterious reaction of the pendant can all be regarded as different forms of "things". Zhuangzi advocates "equality of things" - all things are equal, and there is no distinction between high and low. Hua Fan's attitude towards Nian reflects this spirit of "equalizing things" to some extent: he does not discriminate against Nian because she is an "alien", nor does he despise her because she is a child, but treats her as an equal interlocutor. "Pendant", as a medium that connects different worlds, can be regarded as a symbol of "Tao" - it transcends the specific form (a certain connection between Hua Fangu's ornaments/thoughts) and becomes a bridge that connects heterogeneity. --- 8. Linguistic Perspective: Discourse, Power and Identity 8.1 The power dimension of discourse analysis The conversation between Nian Nian and Zheng Zhiyang was full of power games. She wants to use the title "uncle", which is a courtesy on the surface, but is actually a declaration of power - by defining the other party as an "elder", she occupies the moral high ground of the "junior" ("A large group of you are surrounding me, I am really scared"). This discourse strategy puts Zheng Zhiyang's team in the awkward position of "bullying the small with the big". Zheng Zhiyang's response ("Don't get me wrong, they just came here to show our sincerity") tried to resolve the asymmetry of power through the moral discourse of "sincerity." However, the words that followed, "Don't be too greedy," once again pulled the conversation into the framework of moral judgment and took the initiative in the discourse. 8.2 The construction of language and identity Hua Fan therefore recognized that Nian could speak Chinese through "mouth shape". This detail has important linguistic significance. Language is not only a communication tool, but also a marker of identity. Nian can speak Chinese hints to her: - Possibly of human ancestry (mixed race) - May have been educated or raised by humans - May have lived in human society This language ability becomes a bridge between Hua Fangu and Nian, and also reveals Nian's complex identity - she is both an "alien" and a "Chinese speaker", and is at the junction of two cultures. 8.3 The pragmatics of silence Silence appears many times in this chapter: Zheng Zhiyang "did not speak" and the little girl "was silent for a while". From a pragmatic perspective, silence is not the absence of language, but a form of language. Zheng Zhiyang's silence may mean: - Default to Nian's accusation ("Use alien things to improve your abilities to fight aliens") - Transfer of discourse power - Think about how to respond The little girl's silence may mean: - Thoughts on the issue of Hua Fan's story - Be wary of strangers - Emotionally closed off These silences constitute the "blank space" of the dialogue, providing readers with room for interpretation. --- 9. Aesthetic Perspective: Rhythm, Tension and Imagery 9.1 The prosody of narrative rhythm The narrative rhythm of this chapter can be compared to the rhythm of music. The opening paragraph where Chen Ze touches Amethyst is "Allegro" - the rapid switching of short sentences, dialogues, and actions creates a sense of tension. The confrontation in the middle is "andante" - the pace slows down and the psychological description increases. The appearance of reading is a "crescendo" - a gradual increase in tension. The dialogue at the end is "adagio" - slow and emotional. This change in rhythm forms the "breathing feeling" of the narrative, allowing readers to experience a psychological curve of tension-relaxation-then tension-relaxation during the reading process. 9.2 Construction of image system This chapter builds a rich image system: - Amethyst: a symbol of mystery, danger, and energy. Purple represents mystery, nobility, and spirituality in color psychology, and is consistent with the supernatural attributes of other worlds. - Pendant: a symbol of connection, destiny, identity. As an item worn on the chest, the pendant is close to the heart, suggesting its connection with emotions and blood. - Pink fur: a symbol of unconventionality, eccentricity, and innocence. Pink is usually associated with cuteness and weakness, but Nian's behavior shows maturity beyond his years, forming a contrast. - Cicada: mentioned in the dialogue ("Summer cicadas don't make any noise like you"), symbolizing noisy, vitality, and transience - echoing Chen Ze's character. 9.3 Irony and Dramatic Irony This chapter uses a variety of irony techniques: - Situational irony: Chen Ze, who is 1.87 Meters tall, "acts coquettishly and pretends to be pitiful" towards Duan Qing, who is half a head shorter than him. The advantage of height contrasts with the weakness of behavior. - Dramatic irony: The reader learns from Hua Fangu's perspective that the pendant is related to Nian, but Nian himself claims that he "doesn't know him". This information asymmetry creates suspense. - Verbal irony: Saying "I'm so scared" actually means she has the initiative in the situation. This contrast between words and the situation creates a humorous effect. --- 10. Summary: The value of literature from an interdisciplinary perspective Chapter 4 "Pendant" of "Osmanthus" provides a broad space for interdisciplinary interpretation with its exquisite narrative structure and rich meaning. From the set theory of mathematics to the field theory of physics, from the bonding theory of chemistry to the adaptation mechanism of biology, from the attachment theory of psychology to the boundary construction of sociology, from the ethics of the other in philosophy to the discourse analysis of linguistics, each disciplinary perspective reveals different dimensions of the text. This interdisciplinary interpretation is not a simple application of concepts, but demonstrates the "complexity" of literary texts - good literary works are like multi-faceted crystals in nature, which will reflect different lights when viewed from different angles. This chapter weaves a story about "connection" through Chen Ze's pain, Zheng Zhiyang's dilemma, Nian's loneliness, and Hua Fangu's tenderness: the pendant connects the past and the present, language connects different worlds, and empathy connects lonely souls. Mathematically, this connection can be represented as the edges of a graph; in physics, it is the interaction of fields; in chemistry, it is the formation of bonds; in biology, it is the establishment of symbiosis; in psychology, it is the repair of attachments; in sociology, it is the crossing of boundaries; in philosophy, it is the ethical response of the other. All these disciplinary languages ​​ultimately converge into one core theme: How do we establish authentic connections with others in a world filled with heterogeneity? The fourth chapter of "Osmanthus" provides a suspenseful answer to this question with its unique literary charm - the pendant is moving, the story continues, and we look forward to the follow-up [cat head] [three-flowered cat head]

Theo is so cute!

I really like the atmosphere of the magical world that the heroine exudes... Many people who write about HPs who have traveled through time have never written such a feeling. [Come on] [Come on]

Ross, it must be updated.

Rest easy, baby, my brother will carry it for you

Not enough to watch O. O.

"Are you interested in Teacher Su?" "Catch a big bug for the author~