Chang'an India

Well, neither protagonist is human.

He was not a human being when he came, and he was not a human being when he left. In the middle, he was just a human being and talked about human affairs in a few words.

A few days ago, a fan recommended me to watch a Chinese-style legendary drama called "The Scholar in the Goose Cage". Regarding what is called a "legend", the director said this: "Chinese legends are inherited. In the past, novels and dramas were called "legends". Legends, such as Tang legends, Song legends, and Ming legends, later became genres. But the so-called legend is not fantasy, it is a form of expression, a pursuit of form and aesthetics."

I think the legend is a kind of metaphor. People write things, write about gods, write about monsters, and finally write about people.

Tan Shan's role is relatively simple. He practiced Buddhism, and finally found that the one who protects the world is not the immortal Buddha, but human desires;

When a person sees an ant struggling in a small puddle, he gives it a leaf as a boat. Is this compassion?Probably too.

But my ideal compassion is based on "understanding" and "empathy". It is finally able to tolerate, reconcile with oneself, reconcile with others, and reconcile with the world. It's just that people can't do it.

Between people, understanding and empathy in the true sense are extremely difficult to achieve. Some human beings are very disappointed in this, so they study hive thinking and artificial intelligence matrix technology, hoping to seek love through science, so I wish science Prosperity.

Back to the role, so Tan Shan's setting is "originally a golden fairy outside the sky", he has divinity, and he can do what humans can't do.

Bian Yonglan's "Become a Immortal" is also a metaphor. Love novels are written from the narrow sense of love: half of them are metaphors for the indispensable contribution of "feeling" to human civilization-wisdom is enlightened by love, and immortality is achieved by enlightenment- Saying that the development of civilization is driven by reason, and emotion can only do a disservice to it, has been criticized many times in science fiction.

The other half is a metaphor for the limitations of human beings—it takes two steps to achieve immortality and Taoism, and the first step is to be too forgetful.

Quoting the explanation of "Taishang Wangqing" on the Internet: Wangqing is silent and unmoved, if a person who forgets is not without emotion, but with emotion, but put it at a level that seems to be forgotten.

Just like forgetting words is not forgetting what you want to say, but savoring its meaning silently, not expressing it in words, the same is true for forgetting feelings.

Forgetfulness is by no means ruthless, but being affectionate but not being dragged by love, not trapped by love, and handling love openly and freely.

It is good to have sentient beings, but as soon as sentient beings become stagnant, once they reach the point where they are not free and easy, they will turn the qing into a mess, and even turn it into a bad shape.

I have to admit that I didn’t write the part of Taishang Wangqing so well that I had to use the postscript to make up for it——in the original outline setting, Lanlan planted grapes alone and struggled alone, but ended up writing "I wish you happiness" four chapters. I can’t bear the words myself, and I can’t write abuse when I’m too old, so I quickly put the master back to accompany him. With this company, I can’t write the artistic conception of "too forgetting love", and there will be some logical problems. Finally In the first chapter, Calvin is stuck to death.

But forget it, what I want to write is a sweet article, it doesn't matter whether it is well written or not, the important thing is sweetness.

But at any rate, how to get rid of suffering and attachment is still a bit hard on the question-"If you ask when the suffering and attachment will be solved, you will only know that it is the four seasons in the world, moistening things silently."

Here I would like to take another look at Mr. Wang Zengqi and his four seasons of life.

Using "become a fairy" as a metaphor for detachment, in addition to "getting rid of suffering and attachment", there is also a very important point of "no reason to complain".

These two points are also very difficult for humans to achieve, so Bian Yonglan's role setting is "originally the true spirit of heaven and earth", which is spiritual, and he can do what humans cannot.

After all, the ultimate love is just the way to be a human being, not the way to become a fairy. The main character became a fairy because of holiness and kindness, and the other because of purity and truth. Go—this is what people, and people think, are happy endings.

The protagonist is not a human being when he comes, and he is not a human being when he goes away. He is a human being, and it’s okay if he can’t do it. He treats others leniently and treats himself leniently. It’s only a few decades, and it’s good to live a lively life.

In the postscript of "Long Xiangshou", I wish everyone, "In the quiet years, there will always be a pair of hands that gently caress the fine lines on the corners of your eyes for you."

The blessings this time are more practical, so I wish you all: live in the four seasons of the world.