This Spring

Good-looking, good-looking, a thrilling story in a parallel time and space universe that is visually pleasing,! ! ! ! Reminder

When sorting it out, I found that I forgot to post the "Jin Yi" chapter in the memo, so I will add it now. First of all, the beginning of this article is very attractive! "Li Jinyi is getting married tomorrow." Then she sat under the eaves in a daze. A very confused state. Chen's mother asked her what was wrong, and she said: "I have never seen him. I only know his name." This sentence hit me immediately. In ancient marriages, especially marriages between officials and families, many girls were carried into a stranger's home like this. You don't even know what he looks like, but you have to spend your whole life with him. Jinyi doesn't know how to face it. It was written by Chunyu in a very real way. I particularly noticed one detail. In the conversation between his father and his stepmother, it was mentioned that Wang Yanxu would be transferred to Taizhou to serve as a prisoner next month. In other words, not long after the marriage, the husband will leave. How did Jinyi feel when she heard this? From the later she said to Wang Yansu, "I don't want to disturb you, I'd better not go." It can be seen that she was actually relieved. She felt that it would be a good thing to spend less time together and more separation, as she would not have to face a stranger every day. The spring rain during the wedding was written very carefully. When she is ugly, she is called out to take a bath, make up, and put on wedding clothes. When Mother Chen read the part about "combing it all the way to the end", I felt a bit sore when I read it. Chen's mother's eyes got wet in the end. Jinyi forced a smile and said, "Wear a hijab." The words "forcing a smile" are a bit uncomfortable. Later, I only saw the back of Wang Yanxu riding a horse and guiding the sedan, "tall and upright." Just a back view. I don't know what he is thinking, what he looks like, or whether he is easy to get along with. I think Chunyu used the image of the back very well, it's the kind of "you can only see his back, you don't know what's waiting for you on the front". The wedding night is the climax of this article. Jinyi puts herself very low, as if as long as she admits all her mistakes and gets rid of all possible conflicts in advance, she will be safe, which makes people feel sad. But Wang Yanxu's reaction was completely beyond her expectation. He smiled first and said, "I didn't know that Madam could be so generous." Then he suddenly asked: "Do you have someone else in your heart?" This question was hilarious. It shows that Wang Yanxu cares. A person who really doesn't care about this marriage would not ask such a question. The moment he asked, I knew that he had expectations for Jinyi. What he was afraid of was not that Jinyi was weak or unvirtuous, but that she was unwilling to marry him. Later, when the two people had a stalemate, there was a small detail that was particularly touching. Wang Yanxu stood up and touched the teacup, which shattered on the floor. Jinyi blurted out: "Are you okay?" He didn't call her husband here, it was just an instinctive expression of concern. Wang Yanxu heard it, and he felt a wave of emotion in his heart. He simply said, "Don't be restrained, as long as you and I are compatible." He wanted Jinyi to relax and not feel inferior to others. But Jinyi was really impressed at the back. Wang Yanxu asked back, "How do you know you haven't seen her before?" Then he walked towards her, supported her who was not standing still, lowered his head, and said, "I've seen her before." Here, the full text ends. This marriage was what he wanted. He made plans, delivered messages, and entered into the relationship with Queen Mother Cao. He made all preparations just to marry this girl home! I particularly like the way Chunyu handles memories. It unfolds slowly through Wang Yanxu's perspective. The first time they met, at Xiangguo Temple, Jinyi Suchai Buyi was so preoccupied that she almost bumped into him. The second time we met, at the market, Jinyi walked through the crowd holding calligraphy and painting with a bright smile. They looked different twice, but Wang Yanxu remembered them both. He was sitting in the carriage, the curtains were blown up by the wind, and at that glance, his heart was moved. Then he said to Han Zhongyan, "Get ready for the gifts." The contrast between his confident calmness and the undercurrent in his heart. Hey-hey. Finally, I would like to talk about Chun Yu's writing style. Although this is Chunyu's first time writing ancient short stories, the writing is really steady and neither hurried nor impatient. The tediousness of the wedding, Mother Chen's reluctance, and only the back of the groom could be seen under the hijab. These details add to the atmosphere of ancient weddings. The dialogues between the characters are also well written. Every sentence of Wang Yansu has an overtone, and every sentence of Jin Yi is filled with careful testing. There is no ups and downs in the plot, but my heart is full after reading it. Reminds me of a sentence, the best love is not grand, but "I have seen you, I remember you, I chose you." This is probably what Wang Yanxu said about today's situation. After reading "Jinyi", I feel lucky for Jinyi. She married a man who understood her, cherished her, and was willing to take the initiative to go to her. Their story has just begun. There may still be separation from Taizhou and physical difficulties in the road ahead, but with this beginning based on "understanding", those future storms are so exciting to look forward to. I also hope that in real life, every cautious girl can meet someone who seriously sees her, remembers her, and chooses her.

There were a lot of things going on some time ago, so I was impatient, so I didn't watch it. After reading this, I have a lot of ideas, but I don't know where to start. Suddenly I watched it again tonight and finally knew what I wanted to say. So I wrote two paragraphs. The name has been changed several times, but it's not the familiar Weibo name, haha, it's a double A. Reading the story of Chen Jue and Xu Jing in "This Year's Spring" always reminds me of the things people talk about relationships nowadays. Although hundreds of years have passed, the clothes have changed, and the house has changed, the subtle pull between people, the energy to find a balance between "reality" and "intention" seems to have never changed. You see, the marriage between Xu Jing and Chen Jue is not simply about loving each other to death, but that their backgrounds, families, and even timing are just right for each other. Chen Jue married him because of family arrangements and to escape old pain; Xu Jing married her because of her responsibility to her mentor and the consideration of taking advantage of the situation. This is more like some people nowadays. When they meet someone with "matching conditions" at the right age, they are not passionately in love, but they feel that they can live together, and they take the next step. The state of "get married first, fall in love later" or "slowly cultivate feelings in marriage" has existed in ancient and modern times. In the story, Xu Jing slept in the study room for three months after her marriage. Nowadays, there are newlyweds who are busy with work, and their relationship is weak, and it takes a long time to warm up. Xu Jing's kindness to Chen Jue is also very interesting. He provides a stable life, tolerates her temper, remembers her preferences, and accompanies her to relax. Nowadays, this is definitely the "ideal type" in the eyes of many people: stable, materially based, and able to take care of others. But this kind of goodness sometimes comes with a "condescending" sense of control. If he says he'll take you out for a walk, you'll probably have to go; if he arranges for you to meet old friends, just accept it. The "uncomfortableness" Chen Jue felt in it was probably like what some girls say now: "He is very good to me and arranges everything, but I always feel that it is his rhythm and does not ask me what I really want." In modern love, we pay more and more attention to "equal dialogue" and "spiritual resonance." Xu Jing's "I am good for you" dedication sometimes becomes a kind of gentle pressure, making the other person feel that their own space has been compressed. And the "White Moonlight" Chen Xiao in Chen Deji even pokes at a pain point of modern people: How should people who hold the past in their hearts face the life in front of them? She is married to Xu Jing, and her body is in this relationship, but part of her heart is still in the past, mourning for her old lover who was swallowed up by the times. Is this like some people, because a deep old relationship did not end well, even if they start a new relationship, they are always a little absent-minded and unable to fully invest? Xu Jing's jealousy and faint coercion when she noticed this, and her obsession that "you are here with me, your heart must be here too" are also the source of many people's insecurity in relationships nowadays. We all hope that we are each other's "only" and "favorite", and it is intolerable for our partner to have a point of comparison in his heart. What impressed me the most was the awkwardness between them about not saying anything directly. Xu Jing was busy and didn't come back to sleep. Maybe it was because she was really busy, or maybe she had an awkward moment that night and didn't know how to deal with it. Chen Jue obviously noticed it and muttered in his heart, but did not take the initiative to ask. Two people rely on guessing, testing, and physical intimacy to maintain and confirm their relationship. This is so true. Many couples are like this now. They can send thousands of messages on their mobile phones, but they can't express their real core feelings and concerns. They are afraid of appearing pretentious or causing conflicts, so they silently deduct points in their hearts, or use silence or tantrums to convey signals. In the story, a temple fair and a bowl of soup became opportunities to break the ice. Nowadays, it may take a movie, a trip, or even a big fight to get rid of the blocked words. After all, "Spring This Year" made me see that no matter what era, love or marriage cannot be summed up by a simple word "love". It is mixed with the sand of reality, the dust of power, the shadow of the past, and the burrs of the two people's respective personalities. Xu Jing and Chen Jue both worked hard within their own limited scope. One learned to let go while giving, and the other tried to find himself in the process of acceptance. The process was bumpy and not perfect at all. This actually makes me feel a little more normal about my current feelings. After seeing too many "perfect love" templates on the Internet, I tend to feel anxious and feel that something is wrong here and not enough there. But look at Chen Jue and Xu Jing, they are so bound by the times and have so many unspeakable difficulties, but they are still trying to get through it, slowly developing some complex warmth that belongs to them. What about us? Today, when we have more freedom of choice, perhaps what we should learn is not to look for a flawless script, but to accept the "imperfect reality" of relationships. In concrete life, like repairing an old piece of porcelain, patiently, day by day, manage your own warmth with fine lines.

So sometimes I really love this world

Today I read the fourth chapter of the third part of "Those Things in the Ming Dynasty", the paragraph about Zhu Qizhen abolishing the harem and burial. In the first month of the eighth year of Tianshun, the emperor, who had experienced the Tumubao Incident, been imprisoned and was restored, left a legacy before his death. "I can't bear to use people to bury people. Stop this matter on your own and don't do it again in future generations." Although the number of words is very small, it ended the cruel system of five emperors, Hongwu, Yongle, Hongxi, and Xuande, which lasted for nearly a hundred years. Then Zhu Youtang appeared. His biological mother, Miss Ji, was persecuted by Concubine Wan Gui and secretly gave birth to the future emperor in the cold palace. Her short and miserable life was such that she could not even leave her name. In historical records, she is only "Ji". And her son, the emperor who later became famous for his generosity, named her Queen Xiaomu and built a mausoleum for her. But throughout his life, he could not find his mother's name. Looking back at "This Year's Spring", I suddenly understood the weight of these stories written by Chunyu better.

In the past six months, I have watched the drama version of "Those Things in the Ming Dynasty" and "Ming Dynasty 1566" (I remember the first time I watched it when I was a kid, with my grandpa, and I just remember "a bunch of old men" chatting about the government's one-year expenditure on the treasury. Now that I'm watching it again, with the narration by the host of Bilibili, I really feel the charm of historical dramas!!). So I became addicted, and watched "The Fifteen Years of Wanli", "The Story of Zhang Juzheng", "The Story of Yu Qian" and "The Story of Wang Yangming" one after another. I really had mixed feelings... So now when I go to work and encounter difficulties, I always think of these histories and of these civil and military officials. [Covering face, laughing and crying]

Reading and Playing (3), I couldn't calm down for a long time, especially after reading the postscript of Chunyu. There is still a complex silence and slight waves lingering in my heart. It is not like ordinary ancient sayings, which only describe the beauty of talented people and beautiful women, but like a delicate silver hairpin, gently lifting a corner of the heavy curtain of history. What touched me most about the novel was the weight carried by the name "Chen Jue" itself. I read in the postscript that Chunyu decided to write the title after a woman because she lamented that there were so many men's names in history, while women often only existed vaguely as "a certain family name". This simple original intention gave the whole story a different foundation. Chen Jue is no longer a nameless footnote in any grand narrative. She is a concrete person who has slowly emerged from the dust of history. Her skin can feel the red marks and bruises after love, her nose can smell the intertwined smell of the heater and lust in the room, her heart will ache for the loss of her first love, Chen Xiao, and a vine-like attachment and unwillingness will arise in the complicated and unspeakable protection and silence of her husband Xu Jing. She made me see that history is not just cold machinations and changes, but also the days and nights carried by countless such living bodies. It is the sum of desires, fears, compromises and a little secret persistence. Chunyu skillfully weaves Chen Jue's fate into the web between the Hongwu and Yongle years of the early Ming Dynasty. The bloody aftermath of the "Nanbeibang Case" was the cause of her hasty marriage; the ups and downs of Xie Jin and other courtiers in the temple were a frightening reference in her daily chats; even the shadow of the royal family's change and the sacrifice of concubines penetrated like cold current into her private conversations with her close friend Lu Lu. Chunyu did not make Chen Jue transcend the times, but made her deeply trapped in them. Her vision is limited by her boudoir, and her choices are bound by her family and marriage. Her biggest "resistance" may just be to whisper "I don't want to eat" to her husband Xu Jing, or to look sadly into the distance when reminiscing about Chen Xiao. It is this "unfreedom" that fits the historical context that makes her image particularly real and distressing. She made me truly feel how fragile the emotions and will of individuals, especially women, are under the crushing force of history, and how tenacious they are to survive in the gaps. The relationship between Chen Jue and Xu Jing is another profound aspect of the novel. This is not a story of love at first sight, but begins with an unforgettable combination of political trade-offs and old love. Xu Jing is much older than her. She is calm, restrained, and has authority. He is almost indulgent in accommodating her, but also has a condescending scrutiny and control. Between their bed, there is tenderness and strong possession; in their daily life, there are concerns and silent barriers of mutual incomprehension. This complex and real emotional tension is far more intriguing than perfect love. It reflects the delicate balance of power and emotion in feudal marriage, and also allows me to see that even within the framework of "parental orders", two lonely souls can still find a way to symbiotically warm each other and test each other. When Xu Jing asked her, "When are you going to have children for me? I want to be willing to do so," the deep expectations and emotional game under the gentle appearance were breathtaking. What moved me the most was the compassion for the unknown people in history that runs throughout. Whether it is Chen Jue's shock at the fate of the concubine Shu who might be buried in the grave, or Chun Yu's "sadness" when he personally visited the Ming Xiaoling Mausoleum in the postscript and stepped on the burial ground of the burial companions, this emotion transcended the story itself and formed a vast empathy. It reminds me that whenever we read history and praise the achievements of emperors and the character of famous ministers, there are indeed countless sighs of "Chen Jue" under our feet. They are the souls of history, the background that the grand narrative erases intentionally or unintentionally. In the end, Chen Jue was given a relatively peaceful ending - he returned to his hometown with his husband, had children, and gained a few years of peace between political storms. This may be a bit of kindness in literature, but it is also a metaphor: the continuity of history depends precisely on the continuation of countless ordinary lives, and on the daily persistence of diet, illness, childbirth, and parting in the stormy sea. Chunyu used words to complete a grand naming ceremony for a woman who might have been "unknown". And I felt like I had a silent and profound look at a distant soul in the light of spring. From now on, I remember that a woman named Chen Jue once lived like that. This is probably the most affectionate historical significance that a novel can achieve.

I really hope that each story in the short story can be expanded and written into an independent novel

4 Short stories are all good to watch [Purple Sugar] kswl

Isn't this the beauty of short stories? Every one of them leaves me wanting more. I can't get enough of it. I can't get enough of it. It would be great if you could make every one of them into a full-length novel. It would be very interesting. I have a little habit. Every time I watch dramas based on real history, I like to search for the prototypes of concubines and women. But often I can only see their surnames, but not their names. But those men always have their first names. When I saw you saying that the name of the heroine was used as the title of each article, it was because of this that I was really touched. From ancient times to the present, there have been many women with talents comparable to men, but because of the feudal dross, they had nowhere to display their talents. However, most of history has only left their surnames. This is true whether it is Shen Ning and Chen Yang in your novel or Ming Lan and Zhang Guifen in "Know or Not". They are obviously talented but can only be trapped in that boxy house. When I saw that Chen Yang's father had hurriedly promised her to Xu Jing before he was convicted, to prevent Yang Yang from being implicated by him, I remembered the sentence I saw when I rewatched "Knowledge" before, "Parents love their children, and they have far-reaching plans." I feel that every book written by Chunyu is full of human atmosphere and human touch, with all kinds of emotions in it, including family affection, love, friendship, every emotion touches me. I'm very curious about how Chunyu came up with the idea to write "This Spring" with real historical events as the background. I'm also curious about the process of the male protagonists falling in love with the female protagonists, so why not write them all into full-length novels? Hehe [bad laugh] [bad laugh] [bad laugh]

Chunyu, let me tell you a news. I own more than 50 of your books. So nice [red heart]

Chunyu, I have been feeling very sad recently, very annoyed and depressed, as if I have received bad luck this year. Hope everything goes well as soon as possible [Fanfan]

I particularly like these chapters written by Chun Yu. They all talk about things when Zhu Yuanzhang was in power. Nanjing is my favorite city. I have been there several times. Although I have never been to Ming Xiaoling Mausoleum, my favorite dynasty is the Ming Dynasty. I admire Zhu Yuanzhang very much. I read "Those Things in the Ming Dynasty" when I was in junior high school. It is very interesting. I wonder if Chun Yu will write about other dynasties in the future? For example, Yangzhou, which is very close to Nanjing, wrote about the Grand Canal during the Sui Dynasty. Then wasn't Chunyu himself in Xi'an? Will you consider writing about the Han Dynasty and the Tang Dynasty? The open and diverse culture, the mighty national integration, the high-spirited young general, the civilized and military emperor, the elegant eldest princess, the opening of the Silk Road, the grievances of the Sui and Tang Dynasties, the Hexi Corridor, the Dunhuang Mogao Grottoes. I really look forward to these backgrounds and elements unfolding in Chun Yu's writing [Love Eyes]

I feel so tired recently and want to live in a mountain, undisturbed and isolated from the world.

A few days ago, I was discussing with my colleagues that during the reform and opening up, it was advocated that women can hold up half the sky because they need labor force. Later, there was equality between men and women, and women were required to take care of their children while working. Now that there are no more jobs, women are encouraged to return to the family! ! ! Alas~ The torrent of the times is carrying the fate of the people at the bottom. Some people want to cross the class, while others have no choice but to survive.

This chapter has been drawn, sister [red heart] [red heart] Good night

I saw the ending of Lu Ying who just had a spring rain. Whether he follows Empress Ma, dies in the rebel army when the city is broken, or is buried or imprisoned forever, this is not "surviving". Each one seems to be slowly being erased by time. In the end, Lu Ying did not love Emperor Jianwen. It's really sad to think about it. She didn't come to this point for emotion, but she had to bear the worst consequences for this position. It's hard to let go.