Chronicles of the Earth Series -- Old Palace

Author: Zhu Yong
Publisher:
Publish Date: 2004-02-01
Features: The palace clearly indicates the violent nature of power. If you do not enter the power system, the palace is just a view in your sight; if you challenge the imperial power, the blood-red palace illuminated by the setting sun constantly questions you whether the courage and sacrifice you have prepared are sufficient. The palace clearly indicates the violent nature of power. If you do not enter the power system, the palace is just a view in your sight; if you challenge the imperial power, the blood-red palace illuminated by the setting sun constantly questions you whether the courage and sacrifice you have prepared are sufficient.
This book follows the power struggles within the Ming Dynasty's imperial court as its, meticulously depicting the various hidden and ruthless conspiracy methods Zhu Li used during his usurpation of the throne. Through this book, we not only see a real historicalrule, an exhaustingrule, but also see the fragile inner world of the rising Ming Dynasty in the midst of conspiracies. This book is not just about royal palaces but is infused with too much violence and blood within the Ming Dynasty's court. The detailed imaginative description of the castration of eunuchs also blends the reality of the prose with the fiction of the novel. In the early chapters of the prose, the description of the martial arts competition between Prince Bo and the avenger Hui shows a cold yet-style brushwork. By using old palaces as the subject, Zhu Yong is also carefully constructing his own magnificent and enigmatic prose palace. His pen moves skillfully through the winding corridors, constantly changing its pace and perspective, allowing readers to see the dark corners of the palace. The faint candlelight can illuminate every intricate detail inside the hall—the faint light reflects on the dark eight-fold screen, as if it comes from the dark depths of the colorful pavilion garden pattern on the screen; on the huanghuali wooden desk, the poems are scattered; under the amber paperweight, the last line of the poem is still wet with ink; the paper of the Chengxin Hall is smooth and lustrous. He moves the candle, his steps a bit faster, the flame almost extinguishing. The hall instantly darkens, as if it is a rehearsal for eternal darkness. He sees the boundary between light and darkness in time. He knows that the boundless light of the flame will eventually lead him into boundless darkness.