Hot Wavelength

Chapter 69: A digression, a seven-character quatrain entitled "To be continued"

Brother Xian likes classical Chinese poetry (modern-style poetry) and can occasionally compose a few poems on his own. However, in the main text of the novel, Brother Xian has a strong conviction: he can only use lines from ancient poems and absolutely cannot use his own poems, because that would be truly out of place.

Xian Ge believes that authors cannot insert their own poems into the main text of a novel outside of the characters (most of the characters are foreigners, so it's impossible to have them write them), as that would be equivalent to self-evaluation. Authors cannot insert self-evaluation or annotations into the main text of a novel (except for Professor Jin Yucheng).

The preface, epilogue, and digressions are not part of the main text. In the preface, Brother Xian wrote a seven-character quatrain entitled "Tianwei Twenty-Eight".

This is a digression after the epilogue, not part of the main text. In addition, since Brother Xian has obsessive-compulsive tendencies, he composed a seven-character quatrain as a response to the preface, and also as a way to answer readers' requests to see Brother Xian write poetry himself. It also serves as a unique summary of the creative process and the entire novel.

A Seven-Character Quatrain: To Be Continued

Picking up an old mirror to illuminate the path of today.
Discard new poetry and rely on old symbols.

Clear earth air promotes the growth of algae.
The Heavenly King lingers around the weak spider.

Pedestrians are accompanied by those who follow the mysterious path.
Sweat warms the ice-cold jade pot.

Two lives, yet unable to communicate, still compete in play.

The five stars are in sync.

The seven-character regulated verse is the most strictly regulated form of classical Chinese poetry. By offering his own evaluation of this poem, Brother Xian hopes to share his insights on learning poetry with fellow readers.

Regarding rhyme:

The postscript has already introduced the Pingshui rhyme scheme, which was widely used in Tang and Song dynasty regulated verse. In addition, there is the Cilin Zhengyun, compiled by scholars of the Qing dynasty, which simplified the strict Pingshui rhyme scheme, and there is also the Zhonghua Xinyun, which is even broader in scope.

Xian Ge's seven-character quatrain rhymes with the Ping Shui rhyme scheme, starting and ending with a level tone, and the first line rhymes.

The characters 途, 符, 蛛, 壶, and 珠 all belong to the "Seven Yu" rhyme group of the Pingshui rhyme scheme, and are all commonly used characters in modern times. Their modern pronunciations also conform to the new rhyme scheme. Therefore, this poem uses the stricter Pingshui rhyme scheme, which can also be called "Jingzhai rhyme" or "New Pingshui rhyme" (don't look it up on Baidu, these two names are my own creation).

Regarding tones and rhymes:

Tonal patterns are of utmost importance in quatrains. Even-numbered lines in each quatrain must alternate between level and oblique tones. The upper and lower lines form a couplet, and the level and oblique tones in corresponding positions must be opposite. Couplets must also be linked (identical).

In summary: the test examines even-numbered characters, alternating tones within sentences, contrasting tones between sentences, and linking tones between couplets.

This is an ironclad rule: any work claiming to be a regulated verse poem that misuses even-numbered characters in terms of tone and rhyme, even if only one character is incorrect, will be immediately rejected and deemed "failing." The term "failing" originated from this rule.

What about odd numbers? In a seven-character quatrain, the 7th character must be in a level tone (rhyme) if it rhymes, and in an oblique tone (non-rhyme) if it doesn't rhyme; otherwise, it will also be considered a failure.

Except for special rules such as three consecutive level tones at the end and isolated tones, misuse of the level and oblique tones in the 1st, 3rd, and 5th characters is not considered a mistake, which is commonly referred to as "the first, third, and fifth characters are not counted, the second, fourth, and sixth characters are distinct." However, the level and oblique tones in the second, fourth, and sixth positions must be correct.

For example, in Du Fu's "Ascending the Heights," hailed by historians as the greatest seven-character regulated verse of all time, the tones in positions 1 and 3 are incorrect. I've identified these characters as: "风 (feng), 渚 (zhu), 沙 (sha), 百 (bai), 多 (duo)." The full poem is as follows:
The wind is fierce, the sky is high, and the monkeys howl mournfully.

Clear waters, white sand, birds fly back.

Endless falling leaves rustle down.
The endless Yangtze River rolls on and on.

I often feel melancholy in autumn, like a traveler far from home.
He has been ill for a century and takes to the stage alone.

Hardship and sorrow have turned my temples gray.
In my destitution, I've stopped drinking wine.

Another poetry critic considers Cui Hao's seven-character regulated verse "Yellow Crane Tower" to be the best, even though the tone of the character "黄" in "黄鹤" (Yellow Crane) is incorrect.

To reiterate, unless otherwise specified, the tonal patterns of positions 1, 3, and 5 are perfectly acceptable and cannot be judged as wrong.

On the other hand, poetry is a literary game and a refined pastime for scholars. It is not about arbitrarily using tones and rhymes without considering the first, third, and fifth tones. Unless absolutely necessary, one should try to use them correctly, which is called "seeking perfection".

古人“求工”的证据体现在统计结果上，如果不考虑1、3、5的平仄，那么8句就有24个字不计平仄（实际规则很复杂），分布概率应该是每首七律有12个字平仄不合。

In reality, among the top 100 heptasyllabic quatrains selected by enthusiasts, the number of characters with irregular tones ranged from eight to only one, far below the average of 12. This demonstrates the poets' self-discipline and their efforts to achieve perfection.

Are there any ancient seven-character regulated poems that have been passed down through generations and whose tonal patterns perfectly conform to the format table? There should be, but I haven't seen any yet. Interested readers can try to find them. A poem where every character conforms to the tonal pattern is called "perfectly executed".

The tonal patterns of this seven-character regulated verse by Brother Xian are as follows:

In the poem, the characters “缭” in “缭绕” and “得” in “得伴” are pronounced in modern Chinese with a rising tone (second tone), belonging to the level tone category. However, in classical Chinese (poetry), both “缭” and “得” are pronounced with a rising tone (third tone), belonging to the oblique tone category.

Picking up an old mirror to illuminate the path of today.
level level oblique oblique oblique level level

Discard new poetry and rely on old symbols.

仄仄平平仄仄平

Clear earth air promotes the growth of algae.
仄仄平平平仄仄

The Heavenly King lingers around the weak spider.

level level oblique oblique oblique level level

Pedestrians are accompanied by those who follow the mysterious path.
level level oblique oblique level level oblique

Sweat warms the ice-cold jade pot.

仄仄平平仄仄平

Two lives, yet unable to communicate, still compete in play.

仄仄平平平仄仄

The five stars are in sync.

仄平仄仄仄平平

Is Brother Xian's seven-character quatrain a perfect work?
No, there is one character that doesn't fit. It should be in the level tone, but in the poem it is in the oblique tone. It is the character "五" in "五星" (five stars). Since it is the first character, it is not considered wrong.

Doesn't Brother Xian have OCD? If he just changes the character "五" (five), wouldn't that make it "满工" (full work)?
It can't be changed! If Brother Xian can change it, then the ancients can change it too. Why is it that among the hundreds and thousands of Tang poems in the seven-character regulated verse form, not a single one is perfectly crafted? Isn't it said that the ancients also had obsessive-compulsive tendencies and tried their best to achieve perfection?

Later, Brother Xian realized that this was a kind of self-deprecation and leaving blank space (here, blank space refers to minor mistakes).

Pride goes before a fall, humility brings benefit. It's not that I'm incapable of being proud, but that I choose not to be!
Flawless white jade is considered exceptionally beautiful, while flawed jade is considered to be close to the real thing!
The highest good is like water, which humbly grazes and does not contend. It is concerned with advancing or retreating, yet finds joy in accommodating others.

This is the philosophy of writing poetry, and also the unique aesthetic values ​​of humility, courtesy, retreat, and yielding in Chinese culture.

For example, the famous story that inspired the poem: "What harm is there in retreating three feet?"

Furthermore, although changing "five" stars to "three" stars makes sense in terms of tone and meaning, since five stars can align, so can three stars! However, the alignment of five stars is an important calculation basis for deciphering the Mayan Long Count calendar in Brother Xian's novel.

The symmetry calculation related to Attorney in the Mayan Long Count calendar is exactly 13 squared, which corresponds to 169 planetary alignments, over 230 billion days, or more than 6300 million years—precisely the time span given in the novel, and cannot be changed! This is called:

By yielding three feet, one can achieve harmony among neighbors.

Even a single word of forbearance is not enough; it embodies the virtue of five stars.

Regarding isolated level tones:

Isolated level tone is a major taboo in regulated verse. According to the definition of Mr. Wang Li, a representative figure of the mainstream school (known as the Jia school), it means that there is only one level tone character in a rhyming line besides the rhyming character. The level tone pattern of “五星有信自连珠” is: oblique level oblique oblique oblique level level, which does not belong to isolated level tone.

According to the second school of thought, two oblique tones flanking a level tone constitute an isolated level tone. By this strict standard, many Tang poets violated this isolated level tone rule. Du Fu, who is generally considered to have the highest standards for himself, often violated this rule. For example, in "A line of white egrets ascends to the blue sky" and "A wild boat just receives two or three people," both are oblique-level-oblique-oblique-oblique-level-level.

According to the second school of thought, Xian Ge's poem also committed the same mistake of having an isolated level tone. The third character could be changed to a level tone to "rescue" it, such as "五星凭信自连珠".

However, Brother Xian thinks it is unnecessary, because if we change "a line of white egrets soaring into the blue sky" to "a line of red egrets soaring into the blue sky" in order to avoid this so-called isolated level tone, I'm afraid all the scholars in the world would not agree.

There's another line of poetry, Bai Juyi's "One wave dies, another is born." It's also in the pattern of level-oblique-oblique-oblique-level-level. Can this line of poetry be changed?
Brother Xian doesn't know if all the scholars in the world would allow it to be changed, but Brother Xian knows that if this poem is changed, the readers of "Hot Wave" will not agree!

Regarding parallelism:

There are many techniques for using parallelism. Based on this seven-character quatrain, let me introduce a few:

Basic parallelism:

Heaven versus Earth, existence versus non-existence, return versus self, two versus five, competition versus chain, and so on.

As a seven-character regulated verse, the middle two couplets are mostly antithetical, while the first and last couplets do not have to be antithetical. Du Fu was obviously a perfectionist, and the aforementioned "Ascending the Heights" is a "full antithesis" with all four couplets being antithetical.

Brother Xian's seven-character quatrain uses the technique of full parallelism; attentive readers can check it out.

Self-parallelism within the sentence:

This means that the first line of the poem contains antithetical words, mostly antonyms, and the second line also contains antithetical words, forming a double antithesis within the first and second lines, and between the first and second lines. The mirror narrative technique of "Fire Wavelength" is actually a kind of antithesis, with "ancient" contrasting with "modern"; the use of classical-style collected-line poems to conclude the chapters of new technology content is "new" contrasting with "old".

The first couplet of Xian Ge's seven-character quatrain:

Picking up an ancient mirror to illuminate the path of today (past and present).
Discard new poetry that relies on old symbols (new and old).

Ancient examples:

Lu You:

Ten thousand volumes of ancient and modern books while away the long days (ancient and modern).
A window at dusk and dawn marks the passing years.

Yang Wanli:
The old and new years will be replaced (new and old).
It's a hassle to decide whether to stay or leave.

Same side overlapping:

The first sentence contains two words with the same radical, and the corresponding words in the second sentence also contain words with the same radical.

The second couplet of Xian Ge's seven-character regulated verse:
The earth's atmosphere is clear and conducive to the growth of algae (clarity, algae).

The Heavenly King lingers around the weak spider (lingering, spider).

Ancient examples:

Du Fu:

Wanma Zongfei Spring Alfalfa (alfalfa)
The only general among them was Han Piao Yao (嫖姚).

Zhao Mengfu:
Spring wine, grapes, and a graceful figure (grapes, graceful figure).

Autumn sand alfalfa and succulent (alfalfa, succulent).

Twin word pairs:

Characters composed of two identical radicals or components correspond to another character of the same category. Examples of twin characters include 林 (lín), 竹 (zhú), 秝 (lǐ), 弱 (ruò), 冒 (mào), 昌 (chāng), 吕 (lǚ), 炎 (yán), 回 (huí), etc.

The second couplet of Xian Ge's seven-character quatrain:

The earth's energy is clear and the algae thrive.

The Heavenly King lingers around the weak spider (weak).

Ancient examples:

Du Fu:

The brocade mat lingered and then left the shore (out).

Ge Jin leaned to one side and did not return to the boat.

Bai Juyi:
During the Dali era, he rode a bamboo horse (bamboo).

Several people were able to see Huichang Chun (Chang). The neighboring area was reduced:

In the same sentence, a character with the three-dot water radical is next to a character with the two-dot water radical, a character with the double-person radical is next to a character with the single-person radical, or the radical is reduced, such as ice becoming water, and snow becoming mountain.

The third couplet of the seven-character quatrain by Xian Ge:
Pedestrians are accompanied by companions along the mysterious path (people are accompanied).

Sweat warms the jade pot (the water is as cold as ice).

Ancient examples:

Xu Hun:

The cold water yearns for spring, its surface thin with ice.
The snow-capped peaks stand tall after the morning rain.

Su Shi
The remaining snow illuminates the mountain with a bright, clear light (snow-capped mountain).
Light ice envelops water, dark and melting (ice water).

Multiple characters with the same radical:

The first sentence contains several characters with the same radical, which correspond to another character with the same radical in the second sentence.

The third couplet of the seven-character poem by Xian Ge:

The traveler is accompanied by someone who follows the mysterious path (行, 得, 循).
Sweat warms and moistens like ice in a jade pot (sweat, warmth, moistening).

Ancient examples:

Hong Yan:

Every day I seek fragrance and wear graceful clothes.

Walking to quench thirst, rinsing with the murmuring stream (rinsing with the murmuring stream).

Fang Hui:

Old man went from Yangliu and Cherry (Yangliu and Cherry).
Drunk and willing to be a magpie (magpie and magpie).

Regarding the use of allusions:

The middle two couplets of a seven-character regulated verse are often antithetical, and the use of allusions is encouraged; most Tang and Song dynasty seven-character regulated verses use allusions.

The so-called use of allusions refers to the use of stories, figures, and vocabulary from classics, historical records, and philosophical works to borrow and express the artistic conception of the poem.

The middle two couplets of Xian Ge's seven-character regulated verse use four allusions, all appearing in the last two characters of each line: 荐藻 (jiàn zǎo), 蛛蛛 (zhū zhū), 玄道 (xuán dào), and 玉壶 (yù hú). Their sources and meanings are as follows:

Algae, aquatic plants, can absorb carbon dioxide and increase oxygen levels when they reproduce in large quantities. This is exactly what is depicted in the novel, Tesla and Maria's method of purifying the Earth's atmosphere.

The Zuo Zhuan (Commentary of Zuo) records in the third year of Duke Yin's reign that tiny aquatic creatures such as *yun* and *zao* "can be offered to spirits and gods, and can be presented as a sacrifice to kings and dukes." This means that although small, these creatures have small uses. Later, the phrase "offering algae" came to mean making small contributions and playing a significant role.

Du Fu also used this phrase in his poem: "Offering celery is small and insignificant, recommending algae is modest and unworthy."

A few small algae cannot clarify the Earth's atmosphere unless they "flourish" and cover the ocean. That's why Brother Xian used the word "flourish" in his poem, which is exactly: The Earth's atmosphere is clear and algae flourish.

Spiders are small insects. In the *Miscellaneous Records of the Western Capital*, Liu Bang's strategist Lu Jia said, "When spiders gather, all things will be auspicious; Heaven uses this as a sign of good fortune. It is a response to human virtue, hence it is called an auspicious omen." This means that seeing a spider signifies good things will happen.

Ouyang Xiu quoted Li He's poem: "A spider brushing the face foretells good fortune; a butterfly entering the curtain announces news to the family."

In this poem, Brother Xian uses the word "spider," which is related to his prediction of the 28th satellite in the preface. The spider web is a little elf in Shakespeare's "A Midsummer Night's Dream." Brother Xian hopes that the new satellite will be named Spider Web, and he uses the spider as a metaphor in the poem.

In the poem, the spider refers to Uranus 28, which is dim and small, practically "weak." However, its discovery is a great "joy" for the Uranus system, because its orbit is on the outermost edge of Uranus, and its discovery greatly expands the scope of the Uranus system.

Thus came the saying: "The Heavenly King lingers around the weak spider."

Tiny algae, such as "Chang," make the Earth's atmosphere clear and transparent, thus weakening the greenhouse effect;

The spider's dimness, though "weak," can still increase the orbital trajectory of the Uranus galaxy, making the galaxy's range "expand."

The phrase "prosperity leads to weakness, weakness leads to prosperity" together corroborates the simple dialectic of Chinese philosophy.

The term "Xuan Dao" comes from the Tao Te Ching, which is familiar to most readers and requires no further explanation.

The phrase "行人得伴循玄道" (Xingren Deban Xun Xuandao) has five characters that are all related to "people". In addition to the clever arrangement of the parallelism, I would like to make a special point about the meaning of "行人得伴". Obviously, the "companion" here does not refer to fellow travelers or drinking buddies.

The Analects begins with these three sentences: "Is it not pleasant to learn with a constant perseverance and application? Is it not delightful to have friends coming from afar? Is it not the mark of a gentleman to remain unperturbed when others do not understand him?"
Once you understand the third sentence, the first two sentences will be much easier to comprehend.

If you are a "traveler," contemplating and researching a certain field of knowledge, exploring its patterns, and believing you have made some discoveries, and you share them with everyone around you, but they neither understand nor agree with you.

How can you be considered a "gentleman"?

Don't get angry if people don't understand!
Even though you're not angry or upset, do you feel lonely?
Returning to the second sentence, "A friend comes from afar," what kind of friend is it? That's easy to understand.

Of course, it's about finding companions who will make you feel less alone, who share your values ​​and are willing to walk alongside you step by step. The readers of *Explosive Wavelength* are the companions that Brother Xian is so proud of!
Jade Pot: The allusion comes from the phrase "a pure heart in a jade pot," which is widely known and needs no further explanation.

In "Fire Wavelength," there is an English word that appears repeatedly throughout the novel: VESSEL. In Chinese, it means container, blood vessel (the blood vessels of plants and animals), and large ship. The novel provides imaginative interpretations and extensions for each of these meanings.

In a religious context, VESSEL means a vessel for faith and soul. This allegory is arranged as an important "burden" in the novel, as the Venusians, in desperation, engrave the consciousness (souls) of 60 billion people on Spirit Star.

Spirit Star is VESSEL! A vessel for faith and soul.

How can the meaning of VESSEL be accurately translated into Chinese? The novel uses the word "圣杯" (Shengbei), but "圣杯" is a Chinese character, not a Chinese word.

Brother Xian found a Chinese word: 玉壶 (yù hú).

What was contained in the jade pot that Wang Changling spoke of? It has been sung for thousands of years, and it seems that everyone understands, yet no one has ever been able to explain it clearly.

Brother Xian believes that the jade pot contains many "things", including at least the virtues of "benevolence, righteousness, propriety, wisdom, and trustworthiness, gentleness, kindness, respect, frugality, and humility" and a transparent, pure, and compassionate heart.

The jade pot is also a spiritual home for scholars all over the world, where humanity and the nation are united!

Isn't that a vessel for faith and soul?
Therefore, when VESSEL is considered a vessel for beliefs and the soul, the most accurate Chinese translation is "玉壶" (yù hú).

Your fellow traveler comes from afar, carrying a pure jade pot containing his clear and pure heart. And you? Use the passion and sweat you've accumulated along the way to warm that pure heart.

Thus, like a clear, bright jade vessel, facing a long and arduous road ahead, you, with hearts as pure as jade and ice, embark on your journey together once more. As the saying goes:
Pedestrians are accompanied by those who follow the mysterious path.
Sweat warms the ice-cold jade pot.

These two lines not only have a literal parallelism but also a semantic parallelism: the first line is "personally practicing," and the second line is "cultivating the mind." This corresponds to the main conflict in the novel, namely the contradiction between technological development and ethical morality.

In a broader sense, the first line is "practicing the Way," and the second line is "upholding benevolence." The value conveyed by "Fire Wave" is precisely that when practicing the Way, one must always uphold benevolence.

Regarding formal extension:

Poets write poems for readers, and there are two ways to "read" them: one is to recite them, and the other is to "silently contemplate" them after they have been written as calligraphy. As the name suggests, regulated verse has strict rules of tone and rhythm to ensure that it can be recited with intonation and rhythm.

Poets and critics throughout history have been strict about the parts of speech and tones of words, but seem to pay little attention to the strokes and structure of words.

To facilitate recitation, one should pay attention to tonal patterns; to achieve a balanced composition in calligraphy, one should consider the shapes of the characters used in the poem. Xian Ge refers to this practice of considering the calligrapher's perspective when composing poetry, intentionally choosing more suitable character shapes, as "form extension."

Pedestrians are accompanied by those who follow the mysterious path.
Sweat warms the ice-cold jade pot.

If you were to treat these two lines of poetry as a couplet and write them as a calligraphy work, which two characters would you intentionally write smaller? I guess it's "玄" (xuán) and "玉" (yù).

This is called "form extension".

Composers should consider the performers. To put it more simply, when you finish building a house and leave, don't let the renovation team spit on you behind your back.

In a poem, there are bound to be characters with many strokes. When written in traditional calligraphy, the number of strokes will be even greater. In this case, the poet should consider choosing characters with fewer strokes that are easier to write in small characters in calligraphy when they are adjacent to the poem.

For example, characters like 日 (sun), 石 (stone), 金 (gold), 玉 (jade), 玄 (mysterious), 出 (out), etc., but it's not that the fewer the strokes, the smaller the calligrapher writes them. For example, characters with open shapes like 人 (person), 千 (thousand), 水 (water), 大 (big), etc.

As is customary, Brother Xian searched for examples of "form extension" from ancient times, but couldn't find any at first. He only managed to find one after much effort.

Ancient examples:

Mi Fu:

The officials, in their humble dwellings, gaze upon the crimson steps (red).

Amidst the five-colored light, I gaze upon her jade-like face.

Zhao Mengfu:
The palace willows sway gently in the breeze, their golden threads heavy.

Ice melts in the imperial moat, and jade scales emerge.

Despite his efforts, Brother Xian only found two examples, which shows that the so-called "form extension" was not a standard that ancient poets writing seven-character regulated verse had to consider.

Xuan Ge took a closer look and laughed. Mi Fu and Zhao Mengfu?
Why do great calligraphers consciously or unconsciously consider the shape of characters when composing poetry?

It turns out they had to handle both the civil engineering and the interior decoration themselves, so they couldn't ignore the form factor, since their units were being delivered "fully furnished".

To clarify, the concept of "form extension" is a figment of Brother Xian's imagination and is not a rigid requirement of regulated verse. The term "form extension" does not exist in any ancient or modern poetic theory.

However, when composing couplets, in addition to considering the parts of speech and tones, the symmetry of the characters must be taken into account; otherwise, they will not look good when pasted on the door frame.

The requirements for writing a seven-character quatrain are high and it is difficult. What I mentioned earlier are just the basic format requirements. No matter how well you do it, it is only a passing grade. It is neat and cleverly matched.

As for the softer standards such as theme, fluency, scene, rhythm, and realm, there are too many to list, so let's leave it to the readers.

Two lives, yet unable to communicate, still compete in play.

The five stars are in sync.

This couplet summarizes the main plot of the novel. Neither Tesla nor Michael could completely complete the game, but neither of them gave up. Perhaps on Planet X, at the edge of the distant solar system, when the five planets align again, the two generations separated by 6500 million years will meet.

The earth is compassionate, the heavens are faithful, the spirits have a place to reside, and the inscriptions have a place to be entrusted.

What does it matter if two lives are not connected?

The five stars will align in time, let's work up a sweat and play another game!

The last two lines of the poem also have another layer of meaning. Brother Xian has already published two novels, "Dark Frequency" and "Explosive Wavelength". Thanks to the support of readers, they have received some feedback, but they have not yet reached the top. Will Brother Xian continue this word game?

From the start to the completion of his first book, *Dark Frequency*, I, Xian Ge, was fortunate enough to advance from Level 1 to Level 4 author. *Explosive Wavelength* is also finished. If I am fortunate enough to reach Level 5 and become a five-star author, I will certainly keep my word and continue the "continuous writing" series.

Thank you to all the readers for following and accompanying me on this journey. I have benefited greatly from reading your comments and am filled with emotion!

It's so good to have you all as my companions!

Come on, let's do it together!

Reciting Tagore's verses: Believe in love! Whether joy or sorrow, the true nature of a hero rises and falls within my heart.

Sing Beethoven's song: To Hope! Even after thousands of years, through countless changes, we must believe in the enduring power of nature!
Borrowing the title of this seven-character quatrain from Chapter 64 of the novel, "A Thousand Autumns" (Nian Nu Jiao), I share with my fellow readers our hopes and expectations—

The hymn of love continues!
See you in the third installment of "Nikola Tesla's Rope"!

&
The poem composed of collected verses at the end of the chapter:
The Milky Way displays its beauty in all directions; Song Dynasty, Yang Yi
He could see a thousand chapters in a single detail. —Zhang Gang, Song Dynasty

Who will share my heart and courage if we start anew? — Guo Yu
Another branch of the clan emerged as its leader. (Song Dynasty, Wang Tinggui)
The Second Collection of Poems for Old Friends, Song Dynasty, Su Song
The ten-thousand-year calendar is in the celestial palace. (Ming Dynasty, Lu Duo)

The universe is vast, yet our bodies are but temporary refuges. — Zhang Bi, Ming Dynasty
The wondrous workings of creation are vividly depicted. — Chen Youxue (Ming Dynasty)
(End of this chapter)