Juan Bei's narration in this paragraph is understated, and it is not even as exciting as Peng Yushu's narration as a bystander, but I can feel that in his incoherent words, there is both the melancholy of hating the heavens and the injustice, and the unwillingness to achieve karma. Pen & Fun & Pavilion www.biquge.info but I made the mistake of not opening which pot to mention which pot to mention, and I couldn't help but ask: "Lao Hu, do you really think that the method of relying on ventriloquist to make a voice can make you return to the stage?" Not to mention that the timbre of ventriloquist vocalization is completely different from your previous one, your previous practice may be useless, and more importantly, the resonance of the abdominal diaphragm is completely different from the vocal cord resonance, which is more difficult to control, and the breath vibration cannot be too long, nor can it be transliterated, nor can it produce high notes, I have never heard of being able to sing in ventriloquism, don't rap a complete play, you have to be mentally prepared for this. ”

Juan Bei didn't answer me immediately, but slowly stood up from the sofa, slowly paced to the window, looked at the dark night, leaned forward, and supported the windowsill with both hands, as if he wanted to penetrate the endless night. His voice rang out again, stounding and powerful.

"Mr. Chang, you are right, when I just had surgery, everyone thought that it was impossible for me to speak again, including my attending doctor, but the practice of ventriloquism has already given me a surprise, otherwise we would not be able to communicate face-to-face today, who can guarantee that it will not give me another surprise?

Juan Bei turned around, smiled at me, and then said: "Mr. Chang, thank you for your hospitality, you have told me a lot of interesting things, I will definitely ask you to go and see it during the rehearsal of my new script, I think, you must be very curious, because when we communicate, I don't use ventriloquism, so how did my voice recover." But it's a very bizarre thing, please forgive me for keeping this secret, but if I can perform on stage again one day, I will definitely tell you this secret. ”

It was three o'clock in the morning when Juan Bei was sent away. The early summer in Beijing was supposed to be bright and starry, but at some point, thick clouds pressed down on the sky overhead, obscuring all the light. The night was so quiet that everything seemed to fall asleep.

Back in the back room, I couldn't sleep at all, although Juan Bei was not a shocking story, but the stubbornness with the sky attracted me deeply, he had too many secrets that could not be solved. For example, when he fainted in the living room, why did the brass bell make a musical sound, and how did he hum this music in his dream? But it was definitely not caused by a ghost, because it was impossible for a ghost to approach the fighting array in his own courtyard.

And he said that he had to show the fainting symptoms once or twice a day, and that this fainting, judging from his account, should have appeared after he had practiced ventriloquism, and what was the connection between them? Learning method? This method is a little too weird.

Could he really rely on ventriloquism to re-enter the stage of Liyuan? It's unbelievable. But thinking about the last promise he made to me, I had to sigh and stop thinking about it.

That night, I fell asleep on the couch. The body is very light, but the head is heavy. I knew I was in a dream, it was dark all around, I could hear people whispering around me, I seemed to be sitting in a small theater building, and people seemed to be anxiously waiting for the play to begin.

Soon, the lights on the stage suddenly turned on, and the background of the stage was a huge landscape painting of thick ink, with distant mountains and daisies, arched bridges floating waves, willows hanging low, and small boats at the beginning. On the stage, some wooden corridors and pavilions were built, and the corners of the eaves were hung with hexagonal painted palace lamps, and everything looked beautiful.

Only then did I realize that the theater I was in was actually on a grand scale, with three floors, but it was all wooden structure, which was very majestic. There were no less than 100 spectators watching the play around, but they were all wearing long shirts and horse coats, and only a few people in the front row were wearing suits, which seemed to be in the early years of the Republic of China.

In the admiration of everyone, the music sounded, the beat was long and long, ethereal and freehand, and the audience suddenly quieted down, and everyone's eyes were all focused on the stage.

But at this time, the actor did not come on the stage, but a Tsing Yi singing voice sounded at the entrance of the stage, and I couldn't tell what she was singing at all, and all my nerves were attracted by the brilliant timbre like the heavenly glow. This singing voice is completely indescribable, it is a kind of purity that does not eat the fireworks of the world at all, it is a kind of penetration that can cover up all the noise and moving hearts, and it is a dream that makes people unconsciously hold their breath and immerse themselves in it.

In just a few sentences, it seems that people have gone through thousands of years of rotation, light and elegant, but with endless vicissitudes. At the end of the last note, shouts of good cheers arose, and a graceful figure dressed in a azure plain dress slowly walked out of the stage, facing away from the audience, and could not see the appearance of the actor.

At this time, the surroundings were like a spoonful of water poured into the oil pot, the audience's voices boiled, everyone no longer sat in front of the table of the eight immortals, but stood up, and the audience in the back row even climbed onto the round stool, clapped their hands, and shouted good. But for some reason, in the crowd, I heard a familiar voice, the pounding of my own brass bell.

I was agitated and stood up. But the moment I got up, the lights around me went out in an instant, and the sound disappeared, and I was once again wrapped in endless darkness.

In the weeks that followed, I met with Juan Bei twice, but instead of coming to my courtyard, he found a teahouse in Xuanwumen. We also have a tacit understanding, no longer talking about the topic of Juan Bei's voice, but just talking about the Ming and Qing dynasties.

Juan Bei asked me in detail about the old things about Jingshan, but unfortunately I didn't know much. Although Jingshan is more than 100 meters high, it is not a natural formation. During the Yongle period of the Ming Dynasty, Chengzu moved the capital to Beijing, demolished the palace of the Yuan capital, and rebuilt the Purple City.

Although the palace city of the capital of the Yuan Dynasty has been abandoned for a long time, a large number of bricks and rubs were cleaned up when it was demolished, and it was a huge project to transport these waste materials, which was time-consuming and wasteful.

At that time, the designer of the Forbidden City, the monk Daoyan, was himself a well-known person, and at his suggestion, he simply used these ballast soil and excavated moat soil and stones to pile up an earth mountain in the north of the Forbidden City, and then after several generations of construction, it became today's Jingshan.

Jingshan is from the handwriting of Daoyan, which is still very credible, because of its dark feng shui layout, so that the Forbidden City has a back, and the royal qi has been gathered on the dragon vein for a long time, and in winter it can shelter the cold wind from the north, and in summer, the mountains are full of pines and cypresses, which makes the imperial city less hot and dry.

It is the rational construction of the central axis of the imperial city, after the Manchu Qing Dynasty and the Ming Dynasty, it is also believed that the king of the Forbidden City is not dissipated, and there is no other palace room.

I don't seem to know more than Juan Bei, and he didn't discuss it in detail, I just wondered, how could Ju Anbei suddenly care about Jingshan?

In the next two or three years, Hu Anbei was busy writing scripts and often left Beijing, and I was often invited by the Criminal Investigation Corps to assist them in handling some strange cases.

In the summer of '88, when I was having dinner with a friend at the Palace Museum, he told me about a strange discovery they made about Jingshan.

It turned out that in the early eighties, in order to comprehensively restore the dilapidated buildings in the Forbidden City and Beihai, they carried out an aerial photo, and when analyzing the aerial photos, they found that the entire building on Jingshan formed a vague human figure sitting cross-legged.

At first, everyone just thought it was a coincidence, and they were talking about something strange. But there was a researcher surnamed Cui in the Forbidden City, who was proficient in ancient Chinese statues, and he could see at a glance that this human figure was not formed by natural accident, it was almost exactly the same as the statue of the Xuanwu God in the Qin'an Hall of Jingshan.

The Xuanwu God is the god of the north in Taoism, and Jingshan is just at the north end of the central axis of the Forbidden City, which seems to be the will of heaven in the underworld.

Now everyone became interested, and Researcher Cui plunged into the search for the design drawings of the Jingshan building that year. He later found the design drawings of the early Ming Dynasty in the National Museum of Culture and History, and this comparison was even more surprising. The original design drawings were different from the buildings in the aerial photos, and the drawings of that year did not look like a Xuanwu statue.

Then there is only one possibility, the buildings on Jingshan were rebuilt later, and that rebuilding made the building complex look like a basalt god. Researcher Cui searched through the historical materials of the Ming and Qing dynasties, and found that during the Qianlong period of the Qing Dynasty, a series of buildings such as the Shouhuang Palace on Jingshan had been rebuilt, and they happened to be moved to the central axis, so the portrait composed of Jingshan buildings should have appeared after the fourteenth year of Qianlong. The construction of ancient royal palaces and gardens is a top priority, because the Kanyu Dingmai is related to the fortune of the country, and similarly, the reconstruction and repair of the building must also be reported to the emperor for ruling, so the reconstruction of the Jingshan complex must also be carried out at the behest of Qianlong.

But why is the complex and the surrounding trees arranged in a single figure, what does this figure represent, and who designed it, and what is the purpose of such a design? These questions are no longer answered. But when I listened to this anecdote, I didn't know why the figure of Juan Bei appeared in my mind.

(Turning a blind eye is called Yi; hearing it is not heard, it is called Xi; if it can't be beaten, it is called a small name.) These three cannot be interrogated, so they are mixed into one. There is no rope on it, there is no ambiguity under it, the rope is indescribable, and it returns to nothing. It is said to be formless, the image of nothing, and it is said to be trance. --Lao Tzu's Tao Te Ching)