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Story 47: A Drop of Tears Walking on the Road of No Return
A Drop of Tears Walking on the Road of No Return (一滴走在不归路上的眼泪)
Author: Anonymous
Among the four beauties of classical China, Zhaojun has the most tragic fate.
The palace of the Han family, under the painter’s brush soaked in selfish desires, was painted with the west wind of the ancient road, the thin horse, the willows and the setting sun. A shepherd’s song was heard urgently outside the Great Wall, and another woman became a gift from the powerful to appease the turbulent desert thousands of miles away. Use her beauty to conquer history and quell wars.
In that era, as a mere little girl, Zhaojun was undoubtedly great, embodying the soul of the entire nation in her rouge tears.
Wang Zhaojun, whose name is Qiang and whose courtesy name is Zhaojun. During the Jin Dynasty, she was renamed Mingjun or Mingfei to avoid Sima Zhao’s taboo. During the reign of Emperor Yuan of the Han Dynasty, he was elected to the palace. In the first year of Jingning (33 BC), the Xiongnu Hu Hanxie Chanyu came to the court to seek peace and marriage. Zhaojun volunteered to go and marry the Xiongnu, which contributed to the goodwill and friendship between the ethnic groups.
After joining the Xiongnu, she was called Ninghumenshi (Queen). Under her influence, her children and the people around them worked hard to maintain good relations with the Han Dynasty, so that “there were no barking dogs in the three generations and no fighting between Li and common people.”
Zhaojun, a symbol of political tragedy. Compared with the other three beauties, Wang Zhaojun is the classical woman who has been written about the most by poets, painters, and composers of all dynasties. However, her fate is the most tragic.
The fundamental reason may be due to the ” “Zhaojun’s resentment”? ! Of course, there is a difference between history and the eyes of the world, and history cannot be changed: Zhaojun in history is smiling at us, fully demonstrating her profound righteousness, while the image of Zhaojun created in literary works seems to be crying at us, Be resentful but not angry.
Throughout the ages, those who have little talent and are struggling in officialdom are more likely to indulge in the “resentment of Zhaojun” and look for their own shadow, deep or shallow… Needless to say, in Chinese culture, the word “resentment” is truly “resentment”. The core and true meaning of the aesthetic meaning of “Zhaojun’s Beauty”.
And “Zhaojun’s Beauty” is so cruel! The limit of beauty.
She just walked towards the depths of Hu Di without looking back. It was a road from which she could not return. She walked for dozens of days in a row. What do dozens of days count in this vast life? But those tens of days may be a lifetime event for her. Zhaojun in history has fixed the template of her life: holding the pipa in her arms, walking lonely among the miserable grass in the setting sun. This is the turning point of her life.
“The eyes are cold and the grass is short, and the moon is bitter and white with frost.” “The vast expanse of flat sand has no people in sight.” The natural environment itself is a kind of suffering. How can Zhaojun’s thin shoulders bear these sufferings?
Fate is something you can never get rid of. As soon as she took a step outside the wall, she was destined to never return.
“The sunshine is thousands of miles away, and no one has returned. Only the wild geese by the river are flying southward in autumn.” Zhaojun, who was on the mission, seemed to have the air of a strong man who would never return. However, how was she boiling in her heart? History cannot be understood.
History is at the limit of return and no return, and her destiny is fixed between advancement and retreat.
Wandering is a painful thing, faced with natural and man-made disasters, wars and silent deaths that can never be escaped. The homeland gradually becomes warm in the long memories, always accepting and acknowledging individual life. But walking on the road outside the Great Wall, the wind is blowing and the sand is vast.
The individual life is so small and desperate under the vast and silent sky. Inadvertently, you will be drowned in the dust and smoke of history, and the road back is so far! The unreachable distance makes life illusory.
Can you still go back? A song from the Han Dynasty Yuefu: “Rabbits emerge from the dog’s sinuses, pheasants fly from the beams, valleys grow in the courtyard, and sunflowers grow in the wells.”
“When the rice is cooked, I don’t know who it is. When I go out and look east, tears fall on my clothes!” If the illusion turns into a bloody reality, what’s the point of going back? People often easily understand the philosophy of life at this moment. Zhaojun may understand that she is just a code name in history. What else can be expected?
Du Fu, a poet of the Tang Dynasty, wrote in “Ode to Ancient Relics”: “Going to Jingmen in the mountains and valleys, there is a village of Mingfei Shang. Once you go to Zitai Lianshuo Desert, only the green tombs are left facing the dusk.
Draw a picture to understand the spring breeze, and surround yourself with it. The soul of the moonlit night returns to the sky. For thousands of years, the pipa has been playing nonsense, and it is clear that resentment is expressed in the music.” The beauty of Zhaojun lies in his appearance of sinking fish and falling geese, but also has a sad and resentful feeling. Zhaojun’s resentment is a helpless resentment against fate – locked in the deep palace and unknown to anyone, she yearns to live like an ordinary woman, have a perfect love, and enjoy family happiness, but she can only marry far away for the royal family.
In a foreign country, I exchanged my life’s love for peace, but I missed my homeland but couldn’t return…
No two people in the world have the same path of return, but the process and rituals are qualitatively similar and become an indestructible symbol. Walking in front of the endless desert depths and flying sand, the specific details of life can be omitted.
Despair stretches as far as the eye can see, pain stretches as far as the eye can see, and the road back can only extend forever, turning into drops of clear tears and splashing on the threshold of history.
In the dream of returning, Zhaojun wrote to the Han court countless times. After Huhanxie Shanyu died, she turned all her pain into looking back with expectation. However, history is history after all, and no one has the possibility to modify history.
In the end, what she got was a piece of imperial writing: From Hu Su. On Zhaojun’s stage, too much pain was performed, and this time she was nailed to the extremely sad screen, continuing to stage endless tragedies.
At this time, her tears had been dried up by the wind and sand in the wild land. When she was born, only the eternal silence remained. After Hu Hanxie died, Emperor Cheng ordered her to “follow Hu customs” and remarry Fizhu Lei Chanyu (the eldest son of Hu Hanxie’s Da Nao family). Let us put ethics aside for the time being and let history be silent!
The pipa in Zhaojun’s arms, I don’t think no matter how much you play or sing, it will never give the historical music a sense of music.
