Clouds of Smoke over the Flourishing Tang Dynasty

Happy to have a baby boy, both mother and child are safe. It was a C-section, and my wife is in the hospital for observation. My husband, who's been drinking, is staying with her.

A Glorious Picture Before Collapse: Reflections on "The Tang Dynasty in the Clouds" Although I personally prefer Apu's "Frontier" and Zhao Ziyue's "Ant Thief," Mr. Jiutu is the online historical novel author I respect the most. Surrounded by the English-speaking world of Australia, he still insists on creating in Chinese, writing moving essays like "The Other Side of the Moon" (it seems this "The Other Side of the Moon" story is unfinished, which is a pity); in another essay, "Half-Drunk, Half-Sober Talk about Hai Rui," he speaks out for Hai Rui; in the preface to "Guide to the South," he offers a scathing satire of General Shi; and the sense of responsibility towards the nation and country revealed between the lines of works such as "Ming," "Guide to the South," "Homeland," "Founding Heroes and Traitors," and "The Smoke and Clouds of the Tang Dynasty" (I haven't read "Qin" carefully yet); all of this is why I deeply respect Mr. Jiutu. In this article, I, as an ordinary reader, will share some thoughts after reading the beginning of Volume 3 of *The Splendor of the Tang Dynasty*. And, I'll boldly offer my criticisms of some aspects of the book (the criticism will be discussed in the latter half of this article). Just as there are a thousand Hamlets in a thousand readers' eyes, there are a thousand versions of *The Splendor of the Tang Dynasty* in a thousand different ways. Please don't be offended if my opinions differ from yours. I also don't have much experience writing reviews, so if this article is inadequate, feel free to criticize and prove me wrong—it will help me improve my writing skills. Let's start from the beginning. The opening scene presents a beautiful picture of Chang'an in autumn. From Zhuque Avenue, the changing colors of maple leaves, and the magnificent and dreamlike city of Chang'an, to the use of imagery such as the people of Chang'an, heavy bronze, white silver, shimmering gold, warm silk, candied fruit, light gauze, and white jade from the Western Regions, the reader sees a grand and majestic atmosphere, full of surging poetic sentiment. The line, "Finally, the dazzling red suddenly leaped, adding a thin layer of gilding to its edges," in particular, showcases exceptional writing skill. From the very beginning, *The Splendor of the Tang Dynasty* leaves the reader in awe. In today's online novel world, where shallow and uninspired writing abounds, encountering such high-quality prose is akin to finding a diamond in a cheap fast-food restaurant. Using the word "diamond" to describe it is not an exaggeration. Just look here, and in many other places in the novel; the reader can feel the ancient atmosphere, the lingering fragrance of ink, and be immersed in the ancient world of the Tang Dynasty. Mr. Jiu Tu's language style is concise, clean, and clear; adding or subtracting even a little would be too much or too little. In the midst of a book drought, "The Splendor of the Tang Dynasty" is like a bright pearl rising in the dark night sky. "The Legend of Tang Dynasty" has several highlights, one of which is the writing skill mentioned above. The second highlight, in my opinion, is the depiction of ambiguous scenes. If the ambiguous descriptions in "Three Palaces, Six Courtyards, and Seventy Concubines" and "Ant Thieves" are like Category III films, then the ambiguous descriptions in "The Splendor of the Tang Dynasty" are like a pink-themed art film—beautiful without being vulgar, alluring without being crude—truly a masterpiece of online historical fiction. (This is not meant to belittle Category III films; they are another form of art. "Three Palaces, Six Courtyards, and Seventy Concubines" and "Ant Thieves" are also novels I greatly admire.) The three-way relationship between Wang Xun, Bai Xingzhi, and Xiao Ping'er early in the book is enough to prove my point. The reason I say the ambiguous descriptions in *The Splendor of the Tang Dynasty* are on par with "art film" is because of the perfect blend of desire and emotion, complemented by elegant and beautiful language, emphasizing the complex psychological feelings of both men and women in these ambiguous scenes. Readers feel a rich sense of depth; it's not just about lust and infatuation, but also about "love." Regardless of Wang Xun and Bai Xingzhi's individual schemes and calculations, readers can feel the love between them. This is fundamentally different from *The Ant Thief*, which never escapes the realm of base lust. I have a potentially extreme viewpoint—love is the source of all literature and art. Online novels shouldn't merely bring readers pleasure. If online novels only offer fleeting thrills, instant gratification, and wishful thinking, they will forever remain at the level of fast-food novels, distancing themselves from true "literature." It was in the novel *The Legend of Tang Dynasty* that I witnessed Wang Xun's love for Bai Xingzhi. Wang Xun showed no disdain for Bai Xingzhi's humble origins. I've always felt that showing genuine care for sex workers—a truly vulnerable group in society—is a manifestation of humanism. I thought of Alexandre Dumas fils' *La Dame aux Camélias*. I felt a sense of déjà vu with Yang Yuyao, even though she was, in essence, a respectable woman. I felt that both Yang Yuyao and Bai Xingzhi bore traces of Marguerite. Bai Xingzhi embodied Marguerite's social standing and idealistic side, while Yang Yuyao reflected Marguerite's libertine nature. There's a line in Alexandre Dumas fils' *La Dame aux Camélias*: "You pity the blind who cannot see the sunlight, the deaf who cannot hear the sounds of nature, the mute who cannot express their thoughts with voice; but under the false pretense of so-called shame, you are unwilling to pity these spiritually blind, soulfully deaf, and morally mute." I believe that perhaps there are ninety-nine ladies tainted by worldly corruption, but there must also be one pure soul that remains untainted by the mud. Everyone has the right to pursue love and happiness. Sometimes, I feel that moral norms are all bullshit; so-called "rites" are merely tools created by a segment of the population to rule and hinder others. As Lao Tzu said long ago, "Rites are the beginning of chaos, a thin veneer of loyalty and trust." Therefore, I sincerely wish Wang Xun and Bai Xingzhi a happy love (even though they are just fictional characters in a fictional novel). Let's talk about Yang Yuyao. I think she is one of the most successfully portrayed characters in "The Legend of Tang Dynasty". The sheer stunning impact this character has on the reader upon her first appearance is overwhelming. From the very first chapter of the first volume, the line "Only five points of budding red slowly peeked out from the carriage entrance, igniting flames in the air" hints at the extraordinary woman about to emerge. This masterful use of language is the result of Mr. Jiu Tu's decade-long dedication to crafting vivid imagery. He uses poetic language to gradually draw the reader into the world of *The Tang Dynasty's Splendor*. The "sky-blue gauze" in "her jade-like calves were covered only by a layer of sapphire blue gauze" echoes the later description of "like a painted apsara in a Buddhist temple, the allure still present, yet subtly revealing a dignified and solemn countenance," vividly bringing a breathtakingly beautiful, almost enchanting, character to life in the reader's mind. This is a woman who wears her bedroom clothes as formal attire, exuding irresistible allure without a trace of vulgarity. Yang Yuyao possesses three parts purity, three parts allure, three parts charm, and one part pitifulness. In my opinion, she is even more outstanding than Bai Xingzhi, a leading lady. With a "waist lock" tied around her waist and a light veil draped over her shoulders, Yang Yuyao, with half of her shoulder and half of her body partially obscured, resembles a female slave, involuntarily evoking feelings of tenderness and affection. The descriptions of sexual abuse in Chapter Six of Volume One reveal a different kind of allure, strangeness, and even seduction compared to other parts of the book. The original text contains many vivid descriptions, some of which are quite explicit, so they will not be quoted here. Readers will be both shocked and angered by Prince Qing's perversion; regarding Yang Yuyao's tragic sexual abuse, they may feel more pity for her misfortune and anger at her lack of resistance. This is foreshadowing. It's related to the confrontation between Yang Yuyao and Yang Guozhong in Volume 2 (the volume and chapter details are based on memory, so I'm not sure if this is accurate), and also to Lei Wanchun helping Yang Yuyao assassinate the Sixth Prince to avenge him in the first chapter of Volume 3. This foreshadowing is cleverly placed and doesn't feel contrived. When looking back in Volume 3, it feels very natural to the reader. This is also one of the manifestations of Mr. Jiutu's ten years of writing skill. Yang Yuyao's shocking tattoos reminded me of an old movie I watched before, "Red Cherry." The physical pain of women forced to get tattoos is not the worst; the humiliation of their souls is the real torment from hell. Regarding Yang Guozhong in the story, I've always wanted to give people like him a good beating for selling their sisters for personal gain (of course, that's impossible in reality, just a fantasy). Several years ago, when I was running an internet cafe, there was a family living near my shop. I heard they were extremely poor. Later, the eldest daughter became the mistress of a wealthy businessman (about the same age as her father). As a result, the family prospered. The father started smoking expensive cigarettes and showing off, and the younger brother became arrogant and completely different from before. One day, I saw the sister's desolate look in her eyes when she went back to her parents' home, and I suddenly felt a pang in my heart. Sometimes, I'm truly pessimistic about human nature. Once people become ugly and despicable, there are no limits. Looking back at China's thousands of years of history, how many people sold their daughters, sisters, and wives for personal gain? The number is probably countless. When someone treats their closest relative as an object and ruthlessly uses them, to what extent has their humanity become distorted? Yang Guozhong in "The Legend of Tang Dynasty" is such a person that one would want to swat him to death with a fly swatter (of course, the historical Yang Guozhong was also this kind of scoundrel, but he probably wouldn't have forced his sister to endure sexual abuse to seduce older men like in the novel). In fact, beneath the ugliness of the male relatives lies the weakness of the unfortunate woman herself. It is precisely this weakness that fuels the ugliness of her male relatives. On the one hand, it reflects a fatalistic outlook on life, which has destroyed countless vibrant flowers. On the other hand, traditional Chinese society harbors a dehumanizing value system, a fallacy that holds that individual interests and happiness should be subordinated to family interests. This fallacy extends further to the point where individual interests should be subordinated to organizational, national, and state interests. If an organization does not aim to guarantee the happiness of its individuals, how much legitimacy does it possess? Of course, I never oppose individuals voluntarily sacrificing themselves for an organization, like Lai Ning, who, despite being a somewhat foolish and simple-minded individual, still possessed admirable qualities. However, when families and organizations use propaganda to persuade individuals to sacrifice their lives (in my opinion, life should hold a very high position in human values, far exceeding the absurd sense of family and organizational identity), to preserve family honor and organizational property, I feel only a chill. The previous paragraph was a bit off-topic; let's return to Yang Yuyao. Everyone has the right to pursue happiness. Her love with Lei Wanchun was poignant and moving. Even Yang Yuyao, whose beauty was said to have been tasted by countless men, possessed a pure heart. However, this love was merely a one-sided, unrequited affection. "The goddess has a heart, but the king has no dream." In the eyes of the chivalrous Lei Wanchun, Yang Yuyao was a "person," not a "plaything" in the eyes of others. He owed Yang Yuyao a favor, which he repaid in his own way, and thus departed without any lingering attachments. All that remained for Yang Yuyao was endless longing. Even with a woman like Yang Yuyao who was promiscuous, Mr. Jiutu grasped her kindness and the shining points of her humanity. This is why I say Yang Yuyao is one of the most successful characters in "The Legend of Tang Dynasty". Another character portrayed exceptionally well is Gao Lishi. Many literary works, and even official histories, depict Gao Lishi negatively. However, in *The Smoke and Clouds of the Tang Dynasty*, we see many positive aspects of him: shrewd, insightful, and with remarkable wisdom. In official history, Gao Lishi was one of the great contributors to the Kaiyuan era's prosperity, but he was often artificially downplayed due to his eunuch status. Traditional historiography, composed of scholar-officials, often held prejudices against eunuchs. While there are indeed many instances of powerful eunuchs harming the country, many others have also done many positive things. The protagonist, Wang Xun, is a loan shark, and his friend, Yuwen Zhi, runs a brothel. These settings fit their identities as spoiled young masters and also reflect the characteristics of the Tang Dynasty's most prosperous period during the Kaiyuan and Tianbao eras. Wang Xun's growth trajectory is complete. From a spoiled young master in the first volume to a valiant warrior and capable leader in the second, his development is gradual and comprehensive, marked by various trials and tribulations, and his personal growth. Although Aunt Yun is a stepmother, her genuine love for Wang Xun, her disappointment in him, and her shortcomings as a woman of the old era are all portrayed in a very rich and nuanced way. Besides its excellent writing style and outstanding character portrayals, the intense battle descriptions are another highlight of *The Legend of Tang Dynasty*. This is evident starting from the second volume. The battle with the Mo Dao (陌刀), the fish-scale formation, and Wang Xun's slightly awkward command all leave a deep impression on the reader. However, since this article focuses more on the ensemble cast of characters in *The Legend of Tang Dynasty*, it will not devote more space to analyzing the descriptions of the battle scenes. In *The Legend of the Tang Dynasty*, appropriate end-of-chapter annotations significantly enhance the novel. For example, the annotations in the first chapter of the first volume detail the red-light districts of Shengye Lane and Pingkang Lane, the upscale residential area of ​​Chongren Lane, and the mistress district of Mingke Lane. Such examples are not elaborated upon here. My personal opinion: In online historical novels, appropriate annotations are necessary, not only to facilitate readers' understanding of historical knowledge but also to demonstrate the author's rigorous writing style. However, excessive annotations are detrimental; they become padding rather than annotation. For instance, in *The Ant Thief*, Mr. Zhao Ziyue's annotations, often hundreds of words long, easily lead readers to interpret them as filler. Since it's a popular novel, it shouldn't contain too much content that readers don't understand and therefore require annotation. *The Legend of the Tang Dynasty* is a model in this regard. That covers most of the praise I've given. Let me first explain why Mr. Jiutu is not my favorite author of online historical fiction. The main reason is that our values ​​differ. Mr. Jiutu focuses more on the responsibilities of family and country within the broader context of the times, while I focus more on the individual's survival in times of crisis. As mentioned earlier, Hai Rui (whom Mr. Jiutu seems to admire somewhat) was someone I deeply respect for his integrity and uprightness, but that's all I respect. The story of Hai Rui starving his daughter to death is not found in official histories such as the *History of Ming*, but first appears in *Wanli Yehuo Bian*, written by Shen Defu, slightly later than Hai Rui's time, falling into the category of unofficial history. As Mr. Jiutu said, the media's indiscriminate promotion of the story of Hai Rui starving his daughter is irresponsible and indeed very inappropriate. However, I personally do not hold so-called incorruptible officials in the same esteem or admiration. Incorruptible officials are, after all, a unique product of a society governed by men. Blindly relying on a few incorruptible officials for the prosperity of society is not only unreliable but also risky. The so-called "incorruptible officials" of history are gone forever. For contemporary China, excessive fascination with incorruptible officials like Hai Rui and Bao Zheng will never promote social progress. The realization of social fairness can only be hoped for through the construction of the rule of law. For me, it's better to admire novelists like Mr. Jiutu than Hai Rui. Then there's Zhang Xun, who's extensively featured in *The Legend of the Tang Dynasty*. My opinion of this guy is exactly the opposite of Mr. Jiutu's. Before *The Legend of the Tang Dynasty* was published, I also loved reading *The New Book of Tang*, especially the biographies. I read Volume 192, "Biography of Zhang Xun," more than six times. When I saw Zhang Xun's portrayal as "Little Zhang Tan Hua" (a high-ranking scholar) in *The Legend of the Tang Dynasty*, I was a little shocked. Both *The Old Book of Tang* and *The New Book of Tang* only mention that Zhang Xun was a *jinshi* (a successful candidate in the highest imperial examination). Given Mr. Jiutu's consistently meticulous research of historical materials, the "Little Zhang Tan Hua" portrayal seems quite misleading. During the Battle of Suiyang, there were 30,000 civilians in the city before the battle; after the city fell, only 400 remained. The difference was all consumed by Zhang Xun as military rations. "The people are the most important, the state is next, and the ruler is the least important" (Mencius). I believe in this saying of Mencius; I believe the army should be the protector of the people. Whether Zhang Xun's purpose was to achieve lasting fame or to protect the ruler, the state, and more people is irrelevant. What matters is that he ate people, and those were the very people he was supposed to protect. I have a very vivid memory of the concubine in the *New Book of Tang* who was the first to be eaten by Zhang Xun. Anyone who married a man like Zhang Xun was incredibly unlucky. China has always harbored a peculiar set of values. This fallacy holds that the interests of the majority can be sacrificed for the benefit of the minority, regardless of whether those sacrificed are willing or not. I'm reminded of the soldiers in the film *Assembly*, who were treated as sacrificial pawns. However, the 30,000 innocent souls of Juyang City suffered far more tragically and unjustly than those sacrificial pawns, because at least the sacrificial pawns were soldiers, at least they weren't used as food. Some voices defending Zhang Xun might say: after the rebel army breached the city, they would also massacre the inhabitants. I would say that this is only a possibility. Even the Mongol army of the 13th century, historically known for its massacres, didn't massacre in every battle. Even if a massacre did occur, wouldn't it be relatively better than being eaten? (Of course, the rebel army attacking the city was also complicit in cannibalism.) (As for whether this value system is prevalent in other countries, I don't know, and I don't intend to find out, because it's irrelevant to me or my friends.) Not only organizations, but also the general public, warmly welcome this value system where the interests of the majority are sacrificed for the benefit of the minority. Only a minority is sacrificed; the majority and the organizations are the beneficiaries. Human nature contains both kindness and innocence, as well as selfishness and indifference. I'm reminded of Lai Ning, who "sacrificed" himself in elementary school. Lai Ning became a role model; I remember my elementary school principal personally lecturing us, urging us to learn from him. I felt three parts respect, three parts pity (not sympathy), and four parts incomprehension for this seemingly foolish child. Everyone hopes for more "heroes" like Lai Ning and Xiang Xiuli. Because the more such "heroes" there are, the more people benefit. Verbally, everyone respects these "heroes" immensely, learning from them every day; but deep down, how many people consider them fools? It's just that mature and stable people don't actually voice these thoughts. (Let me clarify here that I am somewhat skeptical of Lai Ning and Xiang Xiuli's actions, as they "sacrificed" themselves to save so-called "state property." I have always held true heroes in high esteem who sacrifice themselves to save others' lives. In my view, the value of life far outweighs so-called "state property" or organizational interests.) So, when I watched *Saving Private Ryan*, I was quite moved. I guessed that China might not be able to make a film like that because it lacks that kind of social environment. However, after watching *Soldiers Sortie*, I realized I was wrong, because there is a spirit called "never give up, never abandon," which China also possesses, and I was truly moved. The above seven paragraphs, totaling over 1300 words, have digressed. Now, let's return to the main topic. In fact, the main plot of Volume Two of *The Splendor of the Tang Dynasty* revolves around Yang Guozhong's scheme to silence Wang Xun and others to protect the secret of Yang Yuhuan and Prince Shou's affair. The text also strongly condemns the practice of incompetent generals like Geshu Han who sacrifice soldiers' lives for personal glory. Clearly, Mr. Jiutu shares some of my views. Below, I will discuss the aspects of "The Legend of Tang Dynasty" that I am not satisfied with. In the first volume, apart from the first chapter which amazed me, I found the second to sixth chapters, totaling about 200,000 words, quite tedious. While reading these five chapters, if *The Splendor of the Tang Dynasty* weren't written by Mr. Jiutu, I would have considered giving up on the book at least three times. Having read *Homeland* and *The Founding Traitors*, I've become somewhat accustomed to Mr. Jiutu's slow-burning style. In the first chapter of the first volume, there are two sentences: "First, he was tricked by that brat Yuwen, then he got into a fight and bumped into Lady Guo's carriage. He finally managed to find some time to have some fun at Jinhua Tower, only to find that Bai Xingzhi had already been booked out by someone else." Mr. Jiutu wrote tens of thousands of words on just these two sentences. To put it bluntly, this is less impactful than watching a soap opera on TV; the sensory impact of video is far greater. Simply put, I felt the dramatic conflict in the first volume was insufficient, lacking urgency and compelling suspense. The oppressive atmosphere only dissipated in the second volume, like sunshine breaking through the clouds. While I know the first volume laid the groundwork for later stories, it still felt somewhat bloated. The second chapter of Volume One mentions, "The reason Zhang Xun was able to be transferred to fill the vacancy of Qinghe County was largely due to the efforts of the Duke of Hu's family." While in reality, the Tang Dynasty's imperial examination system and related promotion mechanisms were not as sophisticated as those of the Song Dynasty, and rapid advancement through connections with powerful figures was common, is this particular episode appropriate given that Zhang Xun is a prominently featured hero known for his integrity and incorruptibility? Also, in Chapter Two of Volume One, it says, "But tonight, Lei Wanchun discovered that power not only allows one to realize personal ambitions, but its greater advantage is that once you reach a certain position, you can disregard many rules in this world, whether they are the rules on the surface or the unseen rules under the table. These rules, which have always constrained ordinary people, are nothing more than a piece of waste paper to those who have reached a certain level of power." I'm not against Mr. Jiutu expressing such life insights, but is it appropriate for Lei Wanchun, a chivalrous figure in the book, to say this? Would it be better if it were said by Zhang Xun or Wang Xun? Many readers say that this "melodramatic flair" is Mr. Jiutu's artsy, sentimental style. I feel that the term "artsy" is insufficient to describe him. Mr. Jiutu is an extraordinary person with independent thought and an upright character. His novels are meant to promote his beliefs; the novels themselves may simply be a tool. Therefore, the life reflections expressed through his characters are not, in fact, "melodramatic," but rather an indispensable and integral part of Mr. Jiutu's novels. Mr. Jiutu is different from most writers in the online novel world who are only in it for the money. Li Bai, a Daoist figure, completely fails to capture the ethereal and otherworldly spirit in "The Clouds and Mist of the Tang Dynasty." He is far less nuanced than Gao Shi, who later served as a staff member for Geshu Han. My impression of Li Bai in "The Legend of Tang Dynasty" is merely that of an overly enthusiastic scholar and a chivalrous hero. Mr. Jiu Tu devoted considerable space to Li Bai, but I believe it was misplaced. Li Bai's contribution to the dramatic conflict, and his influence on and contrast with the protagonist Wang Xun, are not significant. In the episode where Gao Shi secretly releases Wang Xun, his inner world—the yearning for fame and fortune versus the constant conflict between loyalty to his friends—is undeniably insightful. Yuwen Zhi is relatively well-developed and three-dimensional, but the Tang brothers and others feel like stereotypical extras. Furthermore, Yuwen Zhi's psychological characterization is limited; the narrative focuses more on the ongoing conflict between his brothers, leaving his character superficial. My personal opinion: An important, subordinate character like Yuwen Zhi deserves the same level of attention and exploration as Yang Yuyao's inner world. "Ming" and "Guide to the South" still follow common tropes in online historical novels, but starting with "Homeland," "The Founding Heroes and Traitors" and "The Smoke and Clouds of the Tang Dynasty" made me feel that they were increasingly like traditional historical novels. There was no time travel, no cheat codes, and no farming elements. Or perhaps the "Sui and Tang" trilogy itself already belonged to the category of traditional novels. It's very similar to how I felt reading Er Yuehe's "Emperor Yongzheng" and Yao Xueyin's "Li Zicheng." However, I feel that Mr. Jiutu could have gone further. While *Emperor Yongzheng* sings praises of imperial power and *Li Zicheng* whitewashes bandits, it lacks the indomitable spirit of *The Guide to the South* and the Sui-Tang trilogy. In today's China, still not wealthy and powerful, and with the Chinese people's relatively low international standing, readers can truly empathize with the feelings of ordinary people being violated, deprived, and humiliated in the chaotic world depicted in Jiutu's novels. Readers can also deeply relate to the heroic figures like Wen Tianxiang and Wang Xun. "The Legend of Tang Dynasty" is only halfway through. May it unfold an even more magnificent chapter in the era of the An Lushan Rebellion, a time of great upheaval and upheaval in China! (2011)

Beautiful, beautiful

@Am37: I want to solemnly tell everyone that "The Legend of Tang Dynasty" has come to an end today. The Homeland Trilogy has now concluded. Drunkard am37: The next book will be about the Republic of China era, spanning about sixty years, up to the period of mass layoffs! Although we are reluctant to leave, we are still grateful for the touching moments that the university has given us! Looking forward to the new book!

I've discovered that many so-called democrats fundamentally misunderstand what democracy is. They always hope for external intervention to achieve democratization in China. Isn't that practically the same as kneeling on the ground begging a benevolent official to intervene? The only difference is that the official is wearing colored contact lenses and has permed hair. They've added the word "foreign" to it, making them a "foreign benevolent official." If you truly have a belief in democracy, please straighten your knees first, okay? I'm begging you. I'll buy you a shot of Erguotou (a type of Chinese liquor)!

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Happy Chinese New Year! May you be filled with joy and good fortune in the coming year. Wishing you good health, success in your career, harmony in your family, and all the best!