Of the four beauties in classical China, Zhaojun's fate should be considered the most tragic.

The Han family palace, under the pen of the painter's selfish desire, smeared with the setting sun of the ancient westerly wind, thin horse, and willow bend. Expedited from outside the Great Wall came the Shepherd's Song, and another woman became a gift to the powerful to appease the turbulent desert loneliness thousands of miles away. Use your beauty to conquer history and quell wars. In that era, as a mere little woman, Zhaojun was undoubtedly great, condensing the soul of the entire nation in the tears of rouge.

Wang Zhaojun, name Qiang, character Zhaojun. During the Jin Dynasty, he was renamed Mingjun or Ming Concubine because he avoided Sima Zhaoji. When Emperor Yuan of the Han Dynasty was elected to the palace, in the first year of Ning (33 BC), the Xiongnu called Han Xiechan to enter the dynasty to seek peace and relatives. Zhaojun voluntarily asked to leave, marrying the Xiongnu far away, and made contributions to the goodwill and friendship between the nations. After entering the Xiongnu, she was called the Ning Humen (Empress). Under her influence, her children and those around them worked hard to maintain a good relationship with the Han, so that "there was no police barking in the third world, and Li Shu had no battle".

Zhaojun, a symbol of political tragedy. Compared to the other three beautiful women, Wang Zhaojun is the classical woman who has written the most by poets, painters and composers of all dynasties. However, her fate is the most tragic, and the fundamental reason may be due to this unresolved "Zhaojun grievance", right?! Of course, there is a difference between history and the eyes of the world, and history cannot be changed: the Zhaojun in history is smiling at us, fully demonstrating its profound righteousness, while the image of Zhaojun created in literary works seems to be crying at us, not angry. Throughout the ages, those who were unmet with talent and struggled in officialdom were more likely to wallow in "Zhaojun's grievances" and find their own deep or shallow figures. Needless to say, in Han culture, this word "grievance" is truly the core and true meaning of the aesthetic meaning of "Zhaojun beauty."

And "Zhaojun's beauty" is so cruel! The limit of beauty.

She walked to the depths of Hu Di without turning back. It was a road that could not be returned. She walked for dozens of days in a row. Dozens of days in the vast life, what is it? But those dozens of days may be a lifetime thing in her life. Zhaojun in history frozen frame her life template: holding a pipa and walking alone among the grass of the setting sun. This is the curve of her life turning.

"Her eyes are cold and the grass is short, the moon is bitter and the frost is white." "The vastness of the sand is endless, and no one is seen." 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 steps out of the wall, she is destined never to return.

The sun is thousands of miles away, and no one returns. Only the geese by the river come in autumn and fly south." Zhaojun, who was sent out, was quite a bit of a strong man who would never return, but how boiling her heart was? History cannot understand.

History is on a return and no return limit, frozen frame her fate between advance and retreat.

Drifting is a painful thing, natural and man-made disasters, wars that can never escape and silent death. The homeland is gradually warm in the long memory, always accepting and acknowledging the individual life, and walking on the road outside the Great Wall, all the way is depressing, the sand is vast, and the individual life is so small and desperate under the wide and silent sky. If you don't expect it, you will be drowned in the dust of history. How far is the road back! This unreachable distance makes life illusory.

Can I still go back? Han Yuefu's song "The rabbit comes out of the dog's sinus, the pheasant flies from the beam, the life of Zhongting travels to the valley, and the life of the well travels to the sunflower." "The soup is cooked for a while, I don't know who it is, go out and look east, and tears fall on my clothes!" When the illusion is transformed into bloody reality, what is the point of returning? People often understand the philosophy of life at this moment. Zhaojun may understand that she is just a code name in history. What else can we expect?

The Tang Dynasty poet Du Fu wrote in "Yonghuai Ancient Sites": "The mountains and thousands of ravines go to Jingmen, and the growth of the concubine still has a village. As soon as I go to the purple platform, I can even change the desert, and I leave the green mound alone until dusk. The picture of the province knows the spring breeze, and the soul returns to the moon and night. Thousands of years of pipa making nonsense, clearly resentment is in the middle of the song." The beauty of Zhaojun lies in the fact that she has the appearance of sinking fish and falling geese, but it is even more sad and resentful. And Zhaojun's resentment is a helpless resentment against fate - locked in the deep palace without knowing the people, she longs to live like an ordinary woman, have complete love, and enjoy the joy of family, and she can only replace the royal family and flesh to marry a foreign country, and use the love of her life to exchange for peace.

No two people in the world have the same path of return, but the process and ceremony are qualitatively similar, condensed into an indestructible symbol. Walking in the boundless depths of the desert and in front of the flying sand, the specific details of life can be omitted. Despair is boundless, pain is boundless, and the road of return can only be extended forever, with drops of tears splashing on the threshold of history.

Zhaojun wrote countless times to the court of the Han Dynasty in the dream of returning. After the death of Huhan Xiedan Yu, she turned all her pain into a ray of expectation to look back. However, history is history after all, and no one has the possibility to modify it. In the end, what she got was a royal book: From Hu Pu. On the stage of Zhaojun, too much pain was staged, and this time it nailed her to the extremely sad screen, and continued to play an endless tragedy. At this time, her tears have been drowned by the wind and sand of Hu Di, and life is born in her, leaving only eternal silence. When Huhan Xiedan died, Emperor Cheng ordered her to "follow Hu Pu" and remarry the second child, Lei Danyu (the eldest son of Huhan Xiedao). Let's put ethics aside for the time being, and let history be silent! The pipa in Zhaojun's arms, I think no matter how much I play and sing, I won't let the music of history have a touch of music.