Chapter 2472 Impermanence Hibiscus (Part 1)

The Tang Dynasty poet Han Shan once wrote such a poem:

Bead curtains are hung in Yutang, and there is Chanjuanzi in it. Its appearance is better than a god, and its beauty is like peaches and plums.

The spring mist gathers in the east house, and the autumn wind blows in the west house. Thirty years later, it will become sugar cane dregs.

It means that the world is impermanent, and all the good things will disappear, just like that beautiful woman, after thirty years, she will be like the bagasse that has been chewed.

Beauty is perishable, as well as power and family affection, but the vast majority of people in the world are unwilling to face this problem directly. Everyone understands the truth, but instead of facing the pain and anxiety caused by this problem, people are more willing to wish others a long life, and use this way of evasion to avoid looking directly at death and impermanence.

This is the "constant inversion", one of the "four inversions" in Buddhism, which regards "impermanence" as "permanence".

Perhaps Han Shan himself did not expect that he would become a "hippie". As a literati in the Tang Dynasty who repeatedly failed the imperial examinations, he found a place to live in seclusion just like Tao Yuanming. When his son became an adult, he began to practice Taoism. If you choose Buddhism, you not only become a "monk", but you are also free from all social conventions and orders.

The family is the smallest unit of society. In order to raise his son, Han Shan did not cut off all his ties. It also depends on the situation when a monk becomes a monk. Some are fighting to the death for believers and incense, and some are preaching to others.

In addition to constant inversion, there are self inversion, net inversion, and happiness inversion. Among them, happiness inversion refers to taking pain for pleasure. What is suffering?

A dwarf doesn't naturally want to be a dwarf, but he doesn't get a chance at anything other than a funny character like a buffoon. The audience in the audience roared with laughter. Is the dwarf on the stage really as funny as he appears?

This kind of "entertainment" that bases one's own happiness on the pain of others is fleeting. After laughing, it annoys the body and mind instead. This kind of suffering is called "bad suffering". Not everyone can experience it. of.

Or to change another example, in addition to writing about Notre Dame de Paris, Victor Hugo also wrote a novel called "The Man Who Laughs". It doesn't matter if he performs on stage, everyone treats him as a big star, and when he gets off the stage and returns to a normal life, people will be shocked when they see his face.

Yumu's head cannot be enlightened, even if his head is knocked like a wooden fish.

Georgiana recalled the letter written by Bonaparte: The principle of combat is that a general must have experienced many battles before he can understand how to make the smallest things inspire people's hearts or make the enemy terrified.

The translation of this sentence is actual combat experience. Letting a person who has no actual combat experience lead the army is like Zhao Kuo who is talking on paper. What he brings is not victory, but eternal doom.

It was also that war that determined the fate of Qin and Zhao, and even more people, because it was not only a battle of national fortunes between the two countries, but also established the unification of the East.

The Qin Dynasty did not solve the problem of the Huns and continued to the Han Dynasty. It was precisely because they drove the Huns away that the Huns came to Europe, and Attila, the whip of God, came into being.

Confucius said: A gentleman is a metaphor for righteousness, and a villain is a metaphor for profit.

The debate between righteousness and benefit is a basic topic throughout the entire history of ancient China. During the debate, old men in their decades had gray hair and lost teeth. When they lost the debate, they would not forget to scold "you mercenary villain".

The scholar-officials are different from those of Guo Jia. Guo Jiacai does not believe that "loyal ministers do not serve two masters". He believes that "a wise person can judge his master". He didn't believe in Yuan Shao, who was "a corporal who is courteous and worthy, but doesn't know how to employ people", so he followed Cao Cao.

Guo Jia not only wants to save the country from danger, but also wants to become king and seek hegemony. Cao Cao used a method of "looking at the plum blossoms to quench thirst" to speed up the marching speed of the soldiers marching under the scorching sun. Is this what Bonaparte said "how to make very small things inspire people"?

A woman shouldn't know these things, she just needs to tease parrots, imitate people to play musical instruments, and be pleasing to the eye. "Morning hen" is never a good thing.

But as long as she thinks of those men who put on powder in the old days, it is difficult for her to accept it from an aesthetic point of view.

Bonaparte's sun-tanned look was fresh to her, even though he had shaved his beard anyway.

Even if his grand plan to unify Europe is completed within ten years of his term of office, it is still a question of whether his successor can continue, not to mention that he is not yet the "emperor" for life.

Even if the actor wears the emperor's outfit, the audience in the audience will regard him as "Caesar", but what happens after the scene?

On the stage, "Caesar" is the master, and off the stage, "Caesar" is dominated by Caesar, although Caesar's power is also impermanent.

This is not the "I am upside down" in Buddhism, but it is also "I am upside down". Some people can tell the difference, while others can't.

So sometimes it is not easy to be a ghost.

In the carriage, Georgiana wanted to think about how to reply to Bonaparte's letter, but she kept remembering one thing in her mind.

The castle where she lived temporarily was not big, but there were still quite a few maids. They were probably villagers nearby, because according to the housekeeper's standards, some servants who were not of low rank could not appear in the master's sight.

But Georgiana saw them sweeping the corridors of the castle, and occasionally they peeped at her.

Then she remembered the night when Betty sneaked out. There were supposed to be two policemen standing guard at the door, but they went to the kitchen not far away to have some coffee, and at this moment Betty slipped out.

At that time, it was a maid who bought coffee for the two policemen. She said that her original intention was to give the police gentlemen a refreshing drink to cope with the whole night's duty.

Georgiana carefully recalled the maid's face. Georgiana did see her peeping at her, or she was crying and talking, covering her face with a handkerchief. In general, she had never seen the woman's appearance. , who looks in his thirties and has no special features.

She looked around and found that there was no one around, but she felt cold for no reason, so she rang the carriage.

"Stop!" Georgiana yelled.

The carriage stopped, and Georgiana opened the door, looking at the mud mixed with snow, this time she jumped out of the car without hesitation.

"What's the matter? Ma'am?" Figel rode over and asked.

"Who is the guard of the castle today?" Georgiana asked.

"It's Ibrahim." Figel replied.

"We'll go back at once," said Georgiana.

"what why?"

"Follow orders, soldier!" Georgiana bellowed.

Figel didn't continue to ask, turned the horse's head, and conveyed the order.

"What's the matter?" Langenhofen asked, sticking his head out of the carriage.

"Let's go back." After Georgiana finished speaking, she boarded the carriage again. Her soles were full of mud, which stained the luxurious carpet in the carriage.

"I will not let bad things happen to you, Margaret," she said softly but firmly, as the carriage moved again.

It is easy for cavalry to turn around, but it is a bit troublesome for a carriage to turn around, especially a six-horse cart.

I hope it's all just her illusion.