The clouds are deep and nowhere else, and the clouds in the deepest part are like smiling elves, dancing all the time, "Stop arguing!" A coquettish voice came from a woman's red lips.

The woman's eyebrows are secluded, the apricot eyes are watery, the woman's sideburns are elegant, the beautiful mist sideburns are like cicada wings, the willow leaves and star tail eyebrows, the body is exposed, and the bones are weak and the muscles are abundant.

The tulle long skirt, the high thighs are blown by the breeze and are extremely sultry, the full breasts are dripping, with the white jade softness, and the willow waist lying horizontally shows how delicate it is, this woman has a natural charming posture, which can be called peerless and enchanting.

The woman closed the book, looked at the starry sky beyond the clouds, and muttered to herself, "Fantastical Tetralogy, Fantastical Tetralogy." Flying Moon Love Words, Flying Moon Love Words" A tear slipped from Feifei's eyes, the guard of the cloud country Qianyu Chihiro.

On the dragon boat, the fawn raised its feet high, its mouth kept eating otherworldly fruits, and it was comfortably lying on the swing bed made of ferret skin on the boat.

Next to the swing bed, a very antique radio is playing: "The wind is crying about the sorrow of the world.

In the silence embraced by the stars, if you open your mind to the boiling blood, it will flow into a great torrent together.

Life is like a dream, so it is illusory, life is like a dream, so it is lifelike, ah, no one knows, ah, even the flowers that will be scattered tomorrow do not know the way.

Under the flowers that made a strong covenant, you drank the wine glass in the banquet with Mingyue, and you haven't gone back to stay here to stand, with the flowers of the past vows falling on your shoulders.

People are betrayed after trust, and people are meaningful after trust. Ahhh

The country is gone, the city is broken, the grass is withered, the wind is still weeping, and no one knows it, the face of the wind, the flowers will convey, the face of the wind. 」

Holding a book in his hand that was almost in ruins, Xiao Lu'er wondered, "How can Grandpa Tianji say that the Heavenly Imagination Tetralogy is a supreme martial arts book?

No matter how you look at it, you can't see that the supreme martial arts are there. Could it be that I am the same as most of the mediocre readers of ancient China. Destined not to read the Book of the Highest?

"Those who are destined to understand will understand, and those who do not understand are destined to be ordinary in their lives, don't admit defeat or be unconvinced, you need to know that ordinary is often better than a bright life. Because the bright life is destined to be envied by fate!

Heavenly jealousy, so the devil has fallen. The Demon Man is gone. The lives that live in the world of demons are destined to either die or be controlled by thoughts, and those who are controlled are destined to be only bacterial lives forever. "—The Old Man of Heaven

Grandpa Tianji wants me to recognize my duty and destiny, how can this be! Hmph! My little deer wants to become the peerless number one master and dominate all the universes. 」

The fawn jumped in the air. A tear happened to fall on the deer's nose, "What is this?

The little deer looked at the clouds in the higher heavens, and suddenly a great gust of wind swelled, which blew the little deer and the dragon boat to the east and west.

...

Life is like a dream - Zeng Maochuan

Life is a classic of Calderón and the most famous poetry drama in Spain. What the author wants to clarify is not only what happened to Semondo, but also the illusion of glory and wealth

The 16th and 17th centuries were the "Golden Age" of Spain, a period of great national strength and literary talent, including the birth of Cervantes (1547-1616), Spain's greatest novelist, and Lobe de Vega (1562-1635) and Calderón (1600-1681), the most important dramatists. Just like Tang and Song poems, Spain was also known for its drama in the 17th century.

Many things in life seem to be real, but in fact they are dreamy. The comedy was first staged in 1635, more than 370 years ago, and is divided into three acts and 3,319 lines.

A soldier, playwright, court official, and monk, Calderón wrote more than 120 comedies, more than 70 religious plays, and more than 20 interludes in his lifetime.

In the last 45 years of his life, as Spain's political economy gradually declined, morality and ethics sank to the descent, and Spanish theater gradually declined. But his influence encompasses literature from the mid-17th century to the early 19th century.

Calderón began writing at a time when the theatrical arts were in shape and the theatre was flourishing, with elaborate decorations, lighting effects, cutting-edge stage equipment, and background music all in common.

He was influenced by his predecessors, Vega and Molina, who focused on realism, country, and customs, even with the same plot or title (e.g., "The Mayor of Salamea"), and the costumes and sets were elaborate and ornate, and the rhetoric was exaggerated and baroque. At that time, it was necessary to deal with sophisticated theater fans, and the plot and theatrical style had to be more detailed.

While most of Vega's highest-grossing romantic plays were performed in the "Courtyard", Calderón's creations were urbanized, nuanced, ironic but discreet, and lavishly performed at the Theatre Royal. He wrote plays for the court and raised the importance of acting, playing music, and singing in the society of the time.

In the later period, the drama is far from realism, and the structure is more rigorous: in addition to strengthening the dramatic action and reducing the characters, the plot conflict is developed and gradually strengthened, and it ends in shock at the end.

He is also rich in psychological description, especially good at character portrayal and presentation of words and deeds. In the monologue, he likes to use poetic imagery to express, with strong lyrical meaning and coherent thoughts, which has not been seen in early comedies. In his later years, he devoted himself to sacrament dramas and some rap dramas.

"Life is Like a Dream" writes about the birth of the Polish prince Semendo, who prophesied that he would rebel and become the most cruel atheist monarch when he grew up. Therefore, his father, King Basilo, imprisoned him in the tower and left him to live a half-human, half-animal life since he was a child.

His father regretted it, but fearing that the prophecy would come true, so he drugged him and sent him back to the palace, and when he awoke, he told him of his life, and the prince became furious, insulted the courtiers, and threatened the king.

The king, untamed by his wild nature, drugged him again, sent him back to the tower to be imprisoned, and prepared to pass on to his nephew. When the people learned of this, they disregarded the king's superstitions, rescued the prince, and proclaimed him king. The prince thought it was still in his dreams. After the rebels were defeated, but he forgave the old king.

In addition to Semondo, the most important character in the play is Luo Shaole, a delicate woman who travels thousands of miles to Poland in order to regain her reputation and wash away the shame of abandonment by a negative man.

And Semondogui is the crown prince, but he was imprisoned at birth, living like a beast, and he has no freedom to swim fish and birds. The backgrounds and experiences of these two men are not without similarities, both innocent victims, both abandoned by their fathers, the former has a woman's reputation damaged, and the latter has been deprived of the crown prince's power.

And the most sensational thing about the plot is that when Luo Shaole was frightened and coerced and faced death, he suddenly met his biological father. Luo Shaole is not only looking for a lover who abandoned her, but basically she is also looking for her father and regaining her identity.

King Basilo was obsessed with astrology and believed in prophecy. But he also admits that when interpreting the astrological signs, he "browses them quickly" without much thought, and imprisons his son out of "impulse", and he repeatedly hints that "Semendo is uneducated, uneducated, and uneducated, how can he inherit the unification?" This assertion that "putting the cart before the horse, reversing cause and effect" is really ridiculous.

The two scenes of Asbian and Yesd can only be regarded as supporting roles. Astun is from Moscow, and Yesd is of unknown origin. As soon as these two men appeared, Calderón made it clear that the former had a heavy army and a crowd of ladies and ladies.

Although he and Luo Shaole have been privately engaged for life, they have no intention of fulfilling the contract, just because she "doesn't know who her father is", and later found out that she was the daughter of Keloda, so he was willing to marry her, which shows the importance of the concept of "family matching" at that time.

Koroda plays a series of roles in the play: from the fact that his daughter can marry the Duke of Moscow, it is clear that he is not low. The king's imprisoning of the prince and such a private matter was entrusted to him, which shows that he was a favored vassal. He plays the role of an "old man" in comedy: full of confidence, chattering and chewing words. Although he is kind and loyal, he is not confused. When he felt that the way the king tested the prince was inappropriate, he immediately reminded him that "His Majesty's way of doing it may not be right."

Klanin is the harlequin of the show, playing the role of a gag. Its facial expressions and confessions are witty and funny, and often amuse the audience. Klanin does not re-believe in the promise, and sees the wind turning the rudder. He made it clear: he was here to find luck. But in the battle, he was the only one who died.

Trying to avoid danger provokes death. If God doesn't let you live, you will die after all.

King Basilo repeats the phrase "God is the Lord" again and again, and Calderon seems to have deliberately hinted at the audience's "fate is only what happens, and the cycle cannot be found", and the destiny of heaven is difficult to violate.

Drama is all about monologues and dialogues. The monologues in this play are divided into three categories: Koloda's "hesitation and reasoning" type, Basilo and Luo Shaole's "gushing narrative" type, and Semondo's "teaching philosophy" type.

Koloda's monologue shows a dilemma and hesitant personality: he snoops on the king's privacy, and his daughter should be beheaded according to the law, but he hides his selfish intentions and wants to save his daughter's life. When he was at a loss, he threw the problem to the king.

Semendo's monologue is the backbone: first, he writes about his doubts about his unjust situation, second, his feelings about his dream, second, he uses his wisdom to show his gentlemanly demeanor towards Luo Shaole, and finally he uses his own prestige and prudence to influence his father.

At the end of the second act, the world is warned, whether it is a king or a peddler, all living beings are just members of the great world, toiling all their lives, and in the end, everything is contained in the following two sentences: for the rest of their lives, but not a dream, big and small, it is still a dream. (To be continued......)