There is no night in a city, but the night will not ignore the city.
Liu Sisi gradually forgot the unhappiness she brought to her tonight, but remembered that it was time for her to go home.
Han Lihu took the opportunity to go back with her. After all, they had been passing by the same place, and Han Lihu had a very legitimate excuse that his friend was in Huamu and was on the same route as Liu Sisi.
Liu Sisi rejected his request, and Han Lihu said with a smile: I am the flower guardian Ah, and it is my duty to exercise my power.
Liu Sisi glanced at him and said: I am not a flower, I don’t need you to protect you.
Han Lihu said: In my eyes, you are a flower.
Liu Sisi shouted loudly, "You borrowed it, I'm a leaf, do you know?"I am willow leaves at best.
Han Lihu smiled ambiguously, aren’t flowers and plants separated?Besides, I was about to go to the flowers and trees, and it seemed that I had a fate with flowers and plants in this life.
Liu Sisi pushed him and said angrily: Let’s get away with your fate.Because of this, the two of them had a special intimacy.
The bus heading towards Pudong took the viaduct, as if the road was placed above the city, swimming in the air with the roofs of tall buildings.
The city is full of bright lights, and most of the buildings on both sides of the viaduct are residential buildings. Although the lights here are not as brilliant and colorful as the commercial area, the windows of a plaid are densely covered with buildings, but they look particularly delicate and complex.
The light emitted in the pane is yellow and calm. This is a kind of light of life. Under those faint lights, it is the existence of a family and the entire property of a Shanghainese.
A tall building covered with panes is a compression of Shanghai people's lives and a superposition of different ordinary lives. From the outside, these tall buildings are ordinary and limited in size, but inside it is an endless world. In fact, once a measurable world spreads to the side of people's hearts, it will always be infinite and boundless.
Looking at the urban residential buildings that are as high and low as mountains, you will sigh at the small way of survival of human beings like ants, and struggle to earn the narrow volume of their breathing and breathing in the city space.
Han Lihu and Liu Sisi sat together. When they were in the city, the cars were crowded and they could not talk to each other; when they began to approach Pudong, there were few people.
The car drove onto the Yangpu Bridge, and the towering bridge foundation brought the car to the sky of the city. At night, Shanghai was like a shiny chessboard spreading with high undulating bottoms. The colorful light intertwined a pink and fragile city, just like the luminous jellyfish in the deep sea that was about to break in the darkness. You don’t even dare to shoot this vast urban creature with your eyes. It seems that as soon as you look at them hard, they will collapse and fall down.
Who is the master of this city?
What kind of conspiracy and desire are there in the city's bizarre nightlife?
Han Lihu thought of this question strangely.
In men's mind, they are always interested in conspiracy and desire, and like to interpret all the world into everything they can understand.
However, facing this majestic and delicate city in front of you, you have more of a cautious desire to love pity.
Han Lihu's left leg unconsciously touched Liu Sisi's leg, and a itchy feeling in his heart.
He maintained a slight contact with the girl's clothes, and even had to be cautious with Liu Sisi.
After crossing the Yangpu Bridge, fewer passengers on the bus were getting worse and fewer, and the two of them talked about the night in the city again.
Han Lihu took the opportunity to talk about his contrasting views on the city.
He said that this world shows existence because of the setting, and relative existence constitutes the world.
The themes conceived in Chinese classical poetry are actually a principle of mutual contrast, such as the mutual contrast between urban buildings, forming a contrasting relationship between space; the mutual contrast between sounds constitutes an audio relationship, and human movement actually exists through the contrast between static and dynamic, just like sitting in a car, also through the movement of the car, to perceive the vitality and turmoil of the city.
Han Lihu said: When you see the car running, it reminds people of what is written in classical poetry, "The wind and waves are flashing all over your eyes, and you look at the mountains and mountains as if you are coming to welcome them. If you look carefully at the mountains and mountains, it is a boat ride." Du Fu's "I know that the flowers change the shore and the birds follow the boat" all reflect a kind of relativity of movement.What people are most sensitive to is a relative relationship, which is also the reason why one kind of movement is always used to set off another in poetry.
Liu Sisi heard him talk and said: After hearing what you said, I felt like I had a class.
Don't let me down.
Han Lihu said, Actually, I am also trying to figure out how Chinese classical poetry is structured. I have nothing to do recently, so I think the most important thing in ancient Chinese poetry is to build three relationships. What I just said: the visual contrast relationship, the contrast relationship between sound, and the relative relationship between movement and stillness. I think with these three relationships, you can know how ancient poetry is matched and condemned.In fact, these three relationships are a ruler to watch the surface phenomena in Shanghai at night.
Yeah?I don’t think it’s necessary to see Shanghai so thoroughly. Liu Sisi said a little dissatisfied, “It’s measured by a ruler. What’s the fun of looking at Shanghai like this?
Haha, the three relationships I mentioned can only be regarded as the shallowest relationship. The water in Shanghai is too deep and I will never see through it.Han Lihu said.
Don’t belittle yourself like this. In short, talking to you is better than reading for ten years.Liu Sisi pursed her lips encouragingly and gave him a comforting smile.
Han Lihu took the initiative, said goodbye to Liu Sisi, and got into the night.
After walking for a while, Han Ligu turned around and looked at the bus that was gradually moving away. He thought of the three relationships he mentioned. At this moment, the bus set off the background of the city and separated a cold distance in front of him; the noise of the city aroused a noise in his heart, and his pause of waiting and watching at this moment was ruthlessly abandoned by the speed of the running of the car from far away. He seemed to be wrapped in layers of spider webs, bound to this piece of land in the city that he should not have been involved in. In an instant, he was filled with a sense of confusion that he didn't know what year it was tonight.
Why did a longing begin to be born just now?
Han Lihu wanted to figure out the sadness in his heart, but he knew that his so-called three relationship theories always explain external relationship issues, and his deep revelation of the soul was a strange field that he could not understand and understand.
What a city can explain is always appearance, just like the city map and the appearance of buildings you can record and describe, but the mystery in your heart can never be explained clearly. Where is the soul of the city?
Liu Sisi gradually forgot the unhappiness she brought to her tonight, but remembered that it was time for her to go home.
Han Lihu took the opportunity to go back with her. After all, they had been passing by the same place, and Han Lihu had a very legitimate excuse that his friend was in Huamu and was on the same route as Liu Sisi.
Liu Sisi rejected his request, and Han Lihu said with a smile: I am the flower guardian Ah, and it is my duty to exercise my power.
Liu Sisi glanced at him and said: I am not a flower, I don’t need you to protect you.
Han Lihu said: In my eyes, you are a flower.
Liu Sisi shouted loudly, "You borrowed it, I'm a leaf, do you know?"I am willow leaves at best.
Han Lihu smiled ambiguously, aren’t flowers and plants separated?Besides, I was about to go to the flowers and trees, and it seemed that I had a fate with flowers and plants in this life.
Liu Sisi pushed him and said angrily: Let’s get away with your fate.Because of this, the two of them had a special intimacy.
The bus heading towards Pudong took the viaduct, as if the road was placed above the city, swimming in the air with the roofs of tall buildings.
The city is full of bright lights, and most of the buildings on both sides of the viaduct are residential buildings. Although the lights here are not as brilliant and colorful as the commercial area, the windows of a plaid are densely covered with buildings, but they look particularly delicate and complex.
The light emitted in the pane is yellow and calm. This is a kind of light of life. Under those faint lights, it is the existence of a family and the entire property of a Shanghainese.
A tall building covered with panes is a compression of Shanghai people's lives and a superposition of different ordinary lives. From the outside, these tall buildings are ordinary and limited in size, but inside it is an endless world. In fact, once a measurable world spreads to the side of people's hearts, it will always be infinite and boundless.
Looking at the urban residential buildings that are as high and low as mountains, you will sigh at the small way of survival of human beings like ants, and struggle to earn the narrow volume of their breathing and breathing in the city space.
Han Lihu and Liu Sisi sat together. When they were in the city, the cars were crowded and they could not talk to each other; when they began to approach Pudong, there were few people.
The car drove onto the Yangpu Bridge, and the towering bridge foundation brought the car to the sky of the city. At night, Shanghai was like a shiny chessboard spreading with high undulating bottoms. The colorful light intertwined a pink and fragile city, just like the luminous jellyfish in the deep sea that was about to break in the darkness. You don’t even dare to shoot this vast urban creature with your eyes. It seems that as soon as you look at them hard, they will collapse and fall down.
Who is the master of this city?
What kind of conspiracy and desire are there in the city's bizarre nightlife?
Han Lihu thought of this question strangely.
In men's mind, they are always interested in conspiracy and desire, and like to interpret all the world into everything they can understand.
However, facing this majestic and delicate city in front of you, you have more of a cautious desire to love pity.
Han Lihu's left leg unconsciously touched Liu Sisi's leg, and a itchy feeling in his heart.
He maintained a slight contact with the girl's clothes, and even had to be cautious with Liu Sisi.
After crossing the Yangpu Bridge, fewer passengers on the bus were getting worse and fewer, and the two of them talked about the night in the city again.
Han Lihu took the opportunity to talk about his contrasting views on the city.
He said that this world shows existence because of the setting, and relative existence constitutes the world.
The themes conceived in Chinese classical poetry are actually a principle of mutual contrast, such as the mutual contrast between urban buildings, forming a contrasting relationship between space; the mutual contrast between sounds constitutes an audio relationship, and human movement actually exists through the contrast between static and dynamic, just like sitting in a car, also through the movement of the car, to perceive the vitality and turmoil of the city.
Han Lihu said: When you see the car running, it reminds people of what is written in classical poetry, "The wind and waves are flashing all over your eyes, and you look at the mountains and mountains as if you are coming to welcome them. If you look carefully at the mountains and mountains, it is a boat ride." Du Fu's "I know that the flowers change the shore and the birds follow the boat" all reflect a kind of relativity of movement.What people are most sensitive to is a relative relationship, which is also the reason why one kind of movement is always used to set off another in poetry.
Liu Sisi heard him talk and said: After hearing what you said, I felt like I had a class.
Don't let me down.
Han Lihu said, Actually, I am also trying to figure out how Chinese classical poetry is structured. I have nothing to do recently, so I think the most important thing in ancient Chinese poetry is to build three relationships. What I just said: the visual contrast relationship, the contrast relationship between sound, and the relative relationship between movement and stillness. I think with these three relationships, you can know how ancient poetry is matched and condemned.In fact, these three relationships are a ruler to watch the surface phenomena in Shanghai at night.
Yeah?I don’t think it’s necessary to see Shanghai so thoroughly. Liu Sisi said a little dissatisfied, “It’s measured by a ruler. What’s the fun of looking at Shanghai like this?
Haha, the three relationships I mentioned can only be regarded as the shallowest relationship. The water in Shanghai is too deep and I will never see through it.Han Lihu said.
Don’t belittle yourself like this. In short, talking to you is better than reading for ten years.Liu Sisi pursed her lips encouragingly and gave him a comforting smile.
Han Lihu took the initiative, said goodbye to Liu Sisi, and got into the night.
After walking for a while, Han Ligu turned around and looked at the bus that was gradually moving away. He thought of the three relationships he mentioned. At this moment, the bus set off the background of the city and separated a cold distance in front of him; the noise of the city aroused a noise in his heart, and his pause of waiting and watching at this moment was ruthlessly abandoned by the speed of the running of the car from far away. He seemed to be wrapped in layers of spider webs, bound to this piece of land in the city that he should not have been involved in. In an instant, he was filled with a sense of confusion that he didn't know what year it was tonight.
Why did a longing begin to be born just now?
Han Lihu wanted to figure out the sadness in his heart, but he knew that his so-called three relationship theories always explain external relationship issues, and his deep revelation of the soul was a strange field that he could not understand and understand.
What a city can explain is always appearance, just like the city map and the appearance of buildings you can record and describe, but the mystery in your heart can never be explained clearly. Where is the soul of the city?
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