On Xiaoyao’s acting in Lost You Forever — did you understand the truth and the illusion?


I am now saying that this refers to the character Xiaoyao in the drama Lost You Forever, and has nothing to do with the actress Yang Zi herself — hereby stated!

First layer of acting:

  1. In the drama, what we see of Xiaoyao — is she Wen Xiaoliu or Haoling Jiuyou? From the perspective of bloodline, Haoling Jiuyou is her true identity, while Wen Xiaoliu is the false identity.
  2. But if we look at it from her personal will, since she used the Xingxing Mirror to shape her appearance according to her own desire, the form she chose is Wen Xiaoliu. In that sense, Haoling Jiuyou becomes the identity she is playing.

No matter what, one of the two identities must be a disguise. This is her first layer of acting.

The second layer of acting — a play within a play.

Hypothesis  1: If Haoling Jiuyáo is her true identity, then Wen Xiaoliu is the role she played in Qingshui Town for nearly 30 years.

Apart from that, during her three hundred years of wandering in the Great Wilderness, she kept changing faces, living as a masked person. This kind of acting for three to four hundred years can truly be called the pinnacle. Just like Zhuang Zhou dreaming of being a butterfly, reality and illusion have already become indistinguishable. Life is like a play, and every day is a performance. Such acting and constant role-playing have turned it into a habit for her.

The “play within a play” of Wen Xiaoliu:
Wen Xiaoliu lived as a man in Qingshui Town for nearly thirty years, yet not a single person around her—Old Mu,Mazi, Chuanzi, and the others—ever discovered the truth. Even Tushan Jing only noticed through careful observation, realizing it when he saw her shy reactions. Xiangliu relied purely on the instinct of a beast. This shows just how superb her acting truly was.

Let me give two examples, from our “God’s-eye view,” where it is clear that while playing Wen Xiaoliu, she was performing a play within a play:

In Episode 6, she teamed up with Chuanzi to put on an act, with a clear purpose. In front of Old Mu, she pretended to beat up Chuanzi, so that Old Mu would relent and agree to Chuanzi marrying Sangtian. In the end, Old Mu, seeing the scene, gave his consent, and the goal was achieved. In fact, this corresponds to the later situation after leaving Qingshui Town, when she and Tushan Jing together staged a performance to deceive Cangxuan.

The two first peeked secretly, then put on a play, during which the fake act turned real, as she struck Chuanzi’s head with a feather duster.

Episode 8: In order to help Xiangliu get the medicine, she first broke her vow to Cangxuan that she would not disturb him again, tricked Old Sang into leaving, and then staged the scene of capturing Anian.

Here, it is deliberate acting, with a purpose.

Everyone, compare this with what true feelings look like: it has nothing to do with her own interests, no ulterior motive, and even comes at her own expense.

Concern, reminders, naturally expressed.

In fact, there are many more examples. I just gave a few to show everyone, so you can tell which are real and which are fake.

Since Wen Xiaoliu’s identity is a disguise, when Wen Xiaoliu goes on to act again, it becomes a play within a play.

Hypothesis 2: If Wen Xiaoliu is her true self, then the Princess of Haoling is the role she is playing.
So, when she is acting as the Princess of Haoling, is there a time when she is not performing? Could it be that she makes us unable to distinguish truth from falsehood? When exactly is it real, and when is it fake?

There must be such moments. I casually found a few places where the disguise is easy to spot, to share with you all:

Episode 16 — Just after parting ways with Tushan Jing, she sits alone in the courtyard, deep in thought. Cangxuan comes to ask her: “Are you very sad that Tushan Jing has left?” Xiaoyao replies lightly, “It’s fine.” Then she goes on with a long speech about how one should never entrust joy, anger, sorrow, or happiness to a man. Yet just moments earlier, she was telling Tushan Jing that the two of them were a perfect match, like a turtle and a green bean—meant for each other.

["Just like a turtle staring at a green bean"]

This is a Chinese folk proverb, used to describe two mismatched people being together—like a turtle and a mung bean, they do not really fit, but there is just a mutual attraction.

Purpose: To have Tushan Jing withdraw from his engagement, and Tushan Jing promised that in fifteen years he would return her a Ye Shiqi. In this way, she could once again become Wen Xiaoliu, with Ye Shiqi as her hope.

Episode 24: Xiaoyao bailed on Fengfeng Bei, stayed with Jing instead, helped Jing make a poisoned handkerchief, and Jing gave her a purple fish pellet(Yu Danzi). The two of them did things like a “young couple” would. When Jing went back, he caught Lanxiang’s betrayal. He then brought back the green plum wine. Xiaoyao was very happy, but Cangxuan grew jealous and even reminded her that Jing was engaged. After Cangxuan left, Xiaoyao’s inner voice said: “I’m happy, not for anything else, but because Jing resolved his troubles, so that I can act freely and give you my full support.”

Xiaoyao’s inner voice-over

Question: When she bailed on Fangfeng Bei and stayed with Jing, was she acting together with Jing? Xiaoyao’s inner voice surely couldn’t be fake, right? After Cangxuan left, this voice came without her speaking aloud. If that’s the case, then the part where she spent time with Jing making the poisoned handkerchief must have been an act.

Purpose: To put on an act with Jing, so that Jing would better assist Cangxuan.

Episode 25: With Fangfeng Bei lying in bed, she staged a play together with the attendants and Shirang. You can see in this scene how effortlessly she acts — it all comes naturally to her. Since we, as the audience, have the omniscient perspective, we know Xiangliu was on the bed and thus we can tell she was pretending, but within the story even Shi ran couldn’t see through it.

Calm and composed, her acting was on point.

Purpose:solely to provide protection for Xiangliu.

Episode 37: Xiaoyao helped Grandma Tushan make medicine, and then Cangxuan analyzed for her that Jing’s withdrawal from the engagement still hadn’t been resolved. If they wanted Fangfeng Yiying to voluntarily call off the engagement, it would be difficult, but forcing her into a position where she had no choice but to withdraw would be easier. Xiaoyao then rambled on about things like Jing’s kindness and good character. At this time, the situation was that the renovated palace had collapsed, inspectors had been sent from above to audit the accounts, and Cangxuan urgently needed Jing’s assistance. Xiaoyao rushed back from Haoling in haste, so the very first thing she said when meeting Jing was to speak on Cangxuan’s behalf, without even having the chance to hear him tell her about consummating the marriage with Fangfeng Yiying.


Cangxuan encountered a crisis and urgently needed her to manage the situation

Purpose: to have Tushan Jing assist Cangxuan, drawing in the Central Plains clans to stand on Cangxuan’s side and help him weather the difficulties.

Here, let me mention in passing: why did the palace collapse? Everyone can look back at the reason for the first collapse (aged and in disrepair, with outside force involved—who planned it?). Then why did it collapse again right after being repaired? It must have been orchestrated by the same person, repeating the same scheme. There’s no intention of slandering anyone—the facts are right there, a hidden thread buried within the story.

By now it’s already episode 36. Such an obvious moment of acting being exposed, and you still don’t get it? I’ll give four clear examples where it was obviously acting. There are also many others that might not be as clear, but once this episode 36 scene came out, it became very clear whether the earlier parts were fake feelings or if it was more about asking Jing for help.

If there are still people who don’t believe, let me give a counter-argument. It’s already known that Xiangliu himself stands in opposition to Cangxuan—in plain terms, he’s an enemy. Then why did Xiaoyao still keep pulling against him to the limit, even hiding in the same bed with him? At that moment, how did she forget that XiangLiu once pointed an arrow at her own brother? So many times being unable to hold back? That must be genuine feelings, right? There wasn’t any element of using him in it. In her own words, emotions couldn’t be controlled no matter what.

I previously wrote so many essays on the hidden mythological threads. In the ten myths that were embedded, Yaoliu are truly husband and wife. But because she acted too well, many people felt it was very disjointed. It was only because Xiaoyao’s acting was superb that she deceived many viewers. Many people couldn’t distinguish truth from appearance, and many mistook appearance for truth. Everyone thinks that what they understand is the truth, but in fact the truth is often known only to a few. That is the greatest truth.

In Lost You Forever, Yaoliu turn out to be the hidden Cowherd and Weaver Girl.


To analyze Lost You Forever, we must break free from the original way of thinking, even the framework itself. We can’t always be confined to interpreting flower language or small plot details, like blind men feeling an elephant or being blinded by a single leaf—only able to see a part without grasping the whole. We need to step out and look from a higher vantage point in order to see the threads clearly and understand which mythological plots the author drew upon. Then many details and props will naturally make sense. I suggest first checking the link below—it’s absolutely mind-blowing, and you definitely won’t regret watching it.

Xiangliu’s exclusive prop; in the drama, you can find Xiangliu.

I’ve discovered a new hidden clue: the story of the Cowherd and Weaver Girl. This story is well-known, so I won’t quote it extensively here; below is just a brief summary. The main purpose here is to provide evidence. I will then provide relevant proof from the drama:

“The Cowherd and the Weaver Girl are a pair of lovers from ancient Chinese legend. The Cowherd was a poor but kind-hearted shepherd, and the Weaver Girl was a fairy in heaven. One day, the Cowherd met the Weaver Girl and fell in love with her at first sight. They decided to elope and became husband and wife. However, the Heavenly Emperor discovered this and took the Weaver Girl back to the heavens. Heartbroken, the Cowherd was advised by an old ox that he could use its power to reach the heavens to see the Weaver Girl. The Cowherd succeeded in reaching the heavens, but the Heavenly Emperor did not allow them to be together. In the end, the Heavenly Emperor agreed that they could meet once a year on the Magpie Bridge over the Milky Way on the seventh day of the seventh lunar month. This is the origin of the Qixi Festival. The story of the Cowherd and the Weaver Girl symbolizes the perseverance of true love and the cherishing of affection.”

Weaver Girl

  • To be honest, this still from season two already sparks my imagination. A fairy in the heavens—doesn’t she look like a fairy scattering flowers?

Very similar to the “Fairy Scattering Flowers” painting.

  • Abandoned spinning wheel: The Weaver Girl refers to Xiaoyao. Since becoming the Cowherd’s wife, she no longer weaves. The abandoned spinning wheel appears multiple times in the Huichuntang.

  • The way they meet: The Cowherd and the Weaver Girl meet at first sight by the river, and the Weaver Girl had removed her light silk garments to bathe. This is similar to how Xiangliu and Xiaoyao meet—Xiaoyao sings by the river and encounters Xiangliu. Fangfeng Bei says he fell in love with xiaoyao at first sight. Example images under the light silk garments are provided.

  • Female weaver: Similarly, in episode 18, Xiaoyao has just regained her identity. After encountering Xiangliu and Cangxuan in episode 17, she wants to wear a dress, and Cangxuan says the following words. Xiling Xiezu Niangniang is Xiaoyao’s maternal grandmother and oversees silkworms across the land. This whole scene is shown in wide shots, suggesting deeper meaning and metaphor, indicating that Xiaoyao represents the Weaver Girl. Especially later, when Xiaoyao becomes Xiling Jiuyou, this layer of meaning persists—she has completely become the Weaver Girl, and her meetings with the Cowherd become increasingly rare.

  • Silk garments and the brocade shop: They appear multiple times in Qingshui Town, the most striking instance being in episode 18, when Xiaoyao is captured by Cangxuan. The Qingshui Spirit Stone mentions it during the celebration of King Haoling’s return. The Weaver Girl wears the light silk garments.

It represents the Weaver Girl being taken away; the silk garments serve as a symbol.

Every shot of Xiaoyao and Fangfeng Bei walking in the street or at the entrance to the deathmatch arena features the “Brocade Shop.” At first, I didn’t understand, but now I realize it subtly indicates that the two are the Cowherd and the Weaver Girl. The first time they “accidentally meet” on the street, along the way, apart from the “either animal skins ” it’s always the “Brocade Shop.”

The first time meeting Fangfeng Bei on the street.

Along the road, they were selling either animal skins or fabrics

In front of the brocade shop, the two touch their hearts.

Thirty-seven years later, this scene resembles a lantern in the Heavenly Palace, with brocade nearby, subtly indicating that the two meet less and less.

  • Multiple versions of the Cowherd and Weaver Girl paintings

Wearing blue, carrying a basket, with children inside the basket.

One second before Xiangliu’s masked child appears, it contains all of Xiangliu’s props: the wooden wind chime, the blue lantern, and this frame.

The basket at the entrance of Xiangliu’s cabin.

Here are close-up views of the two images above for you to see.

Qixi/Chinese Valentine day 

The phase of the moon on the night of the Qixi Festival is the first quarter. As the moon continues its forward rotation, by the seventh or eighth day of the lunar month, its ecliptic longitude differs by 90°. When the sun sets, the moon is already overhead, and by midnight, the moon sets. At this time, the half of the moon illuminated by the sun is just visible, which is called the “first quarter moon.”

Because it’s Qixi.

Xiangliu has a crescent moon-shaped sword and gives Xiaoyao a bow and arrow, both subtly referencing the first quarter moon and Qixi.

The Cowherd chases the Weaver Girl but is separated by the Milky Way.

 In episode 37 of season one, the last time the two meet, the Milky Way appears in front of them.

This is the description in the script, explicitly stating it is the “Milky Way.”

The script notes that the “Milky Way” appears in front of the two.

Male farming, female weaving

 Since so much has been described about the Weaver Girl, what about the Cowherd’s farming? In the mini side scene attached to Xiaoyao’s birthday letter in Qingshui Town, Chuanzi carries a farming “plow.” I’ve explained multiple times that Chuanzi’s two mouths represent Tushanjing and Xiangliu respectively; the lower mouth represents Xiangliu. I won’t go into further detail here.[Chuanzi (串子) refers to a Chinese character formed by repeating the same component, like “skewering” elements together.Two mouths (口 + 口) → forms the character 吕 (lǚ).It’s called a chuanzi of two mouths because the character visually stacks two “mouth” radicals.]

Chuanzi has never farmed in the Qingshui Town storyline. Here, suddenly carrying a plow and then putting it down to perform a plowing action must have a deeper meaning.

Silkworm

The last letter Tushanjing sends to Xiaoyao.

Two instances of silkworms.

Meeting on the Magpie Bridge.

I previously argued who Ye Shiqi in episode 17 really is—he is an incarnation of Xiangliu. I’ve now noticed that the Cowherd’s clothes are all blue.

Finally, I will end with a poem I liked very much when I was in school, which describes the Cowherd and the Weaver Girl

Magpie Bridge Immortal
(by Qin Guan, Song Dynasty)

Delicate clouds play with skill, flying stars convey resentment,
The Silver River (Milky Way) stretches far, secretly crossing.
When golden wind and jade dew meet once,
It surpasses countless encounters in the mortal world.

Tender feelings are like water, the appointed time like a dream,
One can hardly bear to look back at the magpie bridge on the return journey.
If the love between two hearts is enduring,
Why should it matter day by day, morning to evening?

This is the description in the script, explicitly stating it is the “Milky Way.”

So, when Xiaoyao saw Jing’s hair on the boat, it looked like the Milky Way, just as shown in the image below.

Tonghua quietly incorporated the details from the book into her drama, such as Like who is reflected in Xiaoyao’s eyes and who is not, Xiangliu’s habit of placing one or both hands behind his back is also included in the drama.clenching his fists, bringing his hand to his mouth, and then smiling. All of these Tonghua included in her drama.Just like the person who destroyed the Yushan protective formation, in the drama, only Xiangliu tries several times to break the protective formation. So, if you notice descriptive details in the book that are reflected in the drama, or vice versa, it means the person is Xiangliu.Even the sitting posture must be taken into account😂

“Yaoliu Jing in Chang Xiang Si corresponds to Bao, Dai, and Chai in Dream of the Red Chamber.”


It is said that Tonghua’s Chang Xiang Si borrows many writing techniques from 红楼梦 (Dream of the Red Chamber). What I found is that 宝钗 (Baochai) and 黛 (Dai) correspond exactly to 夭玹(璟)(Yao Xuan (Jing)) and 柳 (Xiangliu). Below, I will list some interesting props and plot points.


Name decomposition hints

贾宝玉 (Jia Baoyu) → 玖瑶 (Jiuyao), both names contain two “王” (king) characters.

Decomposition of 贾宝玉:

  • 贾 (Jia): After returning west, revived in a sea shell.

  • 宝玉 (Baoyu): Disciple of the Jade Mountain Queen Mother, loves eating jade melon; mother gives jade melon, Fenglong gives jade melon — two “玉” (jade) characters.

林黛玉 (Lin Daiyu) → 相柳 (Xiangliu), both contain double “木” (wood) characters, and wear jade pendants.

涂山璟 (Tushan Jing), name contains one “王” (king).

  • Chuanzi gave Sangtian a green hairpin.

  • He himself has a jade fox and wears a jade hairpin.

  • But there is no “林” (Lin), so he imitates Daiyu.

玱玹 (Cangxuan) also has double “木” (wood). I analyzed that Laomu is a reflection of 玱玹 (Cangxuan). But because Xiaoyao gave him a fox tail, he does not have a jade pendant.

Judgment verse: “玉带林中挂” (The jade belt hangs in the forest).

  • Xiangliu is the jade belt, so he likes to hang on trees; he even sleeps in trees and can stay there for several days.

薛宝钗 (Xue Baochai) — on the surface appears to be Tushan Jing, but in reality, is 玱玹 (Cangxuan).

Judgment verse: “金簪雪里埋” (The golden hairpin is buried in the snow).

  • The golden hairpin refers to 玱玹 (Cangxuan), buried in the cold snow.

  • Its meaning is overshadowed by Xiangliu.

  • This is reflected in the second segment of the opening theme song.

Xiangliu rode a giant bird and flew past, whil Cangxuan was covered by snow.

贾雨村 (Jia Yucun): “玉在椟中求善价,钗于奁内待时飞” (The jade seeks a good price in its box; the hairpin waits in its case for the right time to fly).

Fangfeng Bei, in order to eat roasted meat with Xiaoyao, treated the jade pendant as irrelevant. By doing this, he stopped being Daiyu, became Lin Wuyu, and thus removed Lin Daiyu’s fated destiny. He gave up being an immortal to experience the human world, becoming Fangfeng Bei.

Romantic line: Baoyu and Daiyu share true love, represented by a double-headed arrow.

Episode 37: Xiaoyao used 玉红草 (Jade Red Herb) to grill fish for Xiangliu. In other words, she gave herself to Xiangliu to eat. 玉红草 (Jade Red Herb) also causes one to sleep for three hundred years, dreaming continuously.

The entire 长相思 (Chang Xiang Si) should be like 红楼梦 (Dream of the Red Chamber): a dream, a dream one does not want to wake from.

Classic scenes and props from Dream of the Red Chamber in Chang Xiang Si

Chang Xiang Si borrows classic scenes and props from Dream of the Red Chamber. Generally, when a prop appears, it represents the character’s attributes.

Baoyu, who mingles in circles of the opposite sex, is partially hidden by a blue umbrella, representing that in his heart he still cares for Xiangliu (Daiyu).

Baoyu loves eating rouge

  • Baoyu wearing a straw raincoat and teasing the old man are classic scenes from Dream of the Red Chamber

Whenever a straw raincoat and straw hat appear, it signifies Baoyu’s character traits are highlighted.(Note:he is Liu-Shiqi)

Baoyu carried a lantern to see Cangxuan, formerly Daiyu, later Baochai, for a farewell.

Baoyu appears, teasing Ye Shiqi

On their second meeting, planning to watch Fangfeng Bei practice archery, Baoyu’s character traits are highlighted

The straw raincoat and straw hat at the entrance of Xiangliu’s private residence in Chenrong Mountain also indicate that this is Baoyu’s home. The shared items in the Xiaoliu household serve as proof that the two are married

The spirit stone in Qing Shui Town is narrating the celebration of Da Wang ji, with Xiangliu eavesdropping. A set of Xiaoyao’s exclusive straw raincoat and straw hat is hanging here, which also signifies that Xiaoliu has become Baoyu and is going to mingle in the women’s circles.

Here is the scene in episode 17 of Baoyu leaving Daiyu, shown from behind. Xiaoyao has turned back into Baoyu, which is actually also the signature of Wan Baode in episode 27, only showing the character ‘Bao’

  • After returning to Haoling, he wore jade on his head while in male attire.

Wearing jade and a jade hairpin.

  • Lin Daiyu’s jade pendant. I specifically discuss this here; just see the link

One enters the dream, the other does not

Lin Daiyu in Cao Xueqin’s writing, appearing like a celestial fairy, exists on a spiritual level and is Baoyu’s dream lover. Baochai exists on a real-world level, is calculating, and is Baoyu’s life partner. Because reality is far less beautiful than dreams, one feels “ultimately dissatisfied.”

Similarly, Xiangliu, Tushan Jing, and Cangxuan relate to Xiaoyao in the same way. However, Xiangliu additionally has the Fangfeng Bei disguise, sold the jade, and the two even sing “Prefer the mortal world’s fireworks,” so Xiangliu breaking through Lin Daiyu’s ending leads to a happy ending (HE).

He had already entered the dream before the poison ritual.

In the end, Daiyu died on the day of Baoyu and Baochai’s grand wedding.

Xiangliu also died on the day of Xiaoyao and Tushan Jing’s grand wedding. However, Fangfeng Bei survived.

Daiyu and Baochai correspond to Xiangliu and Jing.

Nowadays, more and more analyses of Dream of the Red Chamber suggest that Lin Daiyu and Xue Baochai are “two beauties at the same time,” two sides of the same coin, equally matched in character, appearance, and talent. When Cao Xueqin created these characters, he designed them to complement each other. Whether in the judgment verses or the songs, the two are always placed together. As a result, the two have long been elegantly referred to as “Chai–Dai as One” (钗黛合一).

So why are the two called Chai–Dai as One? I believe it is primarily due to the complementarity in their lives. Both Chai and Dai have their own flaws; together, they form perfection.

Commentary by Zhiyan Zhai in Chapter 42:
Gengchen: Although Chai and Yu each have a name, they are in fact one person—this is the work of a fantasy pen. By the time the book reaches Chapter 38, more than one-third has passed, so this chapter depicts the two as united into one. Just observe the words of Baochai after Daiyu’s passing, and you will know that my statement is not mistaken.”

The lives of Chai and Dai are, in fact, complementary. Lin Daiyu lived through the first half of a person’s life, experiencing love; her youth was vibrant, meaningful, and full of energy. Xue Baochai, on the other hand, appears already in middle age—steady, graceful, mature, like an adult woman. Her life represents the continuation of Lin Daiyu’s. Having lost the sharpness of youth and the age of love, marriage becomes a calm, everyday life. Lacking the passion of love, she embodies the delicacy of married life.

In her previous life, Lin Daiyu owed the Divine Attendant Shenying the nurturing of affection. In this life, she only comes to repay that fleeting love; after repaying the favor, she passes away. Meanwhile, the Divine Attendant Shenying’s experiences are not yet complete. Xue Baochai, as Lin Daiyu’s successor, renews the bond with Jia Baoyu, enacting the life of someone entering marriage. According to the notion of Chai–Dai as One, Lin Daiyu is Xue Baochai, and Xue Baochai is Lin Daiyu. They represent two stages of Jia Baoyu’s experience of a single love. Once the love is fulfilled, the Divine Attendant Shenying’s merit is complete, and Jia Baoyu departs from the world.

It can also be understood this way: meanness and nobility, evil and goodness, hatred and love can coexist within the same heart. If you can understand this, then you realize that Chai and Dai are actually the same person. This reality is rather harsh—there is no perfect human. Therefore, in the mythological story, Tonghua, unwilling to accept this, created a middle character who gathers the strengths of both—Ye Shiqi. Ye Shiqi was initially fake (placed in this false world by Tushan Jing). That is why Xiaoliu said, “There is no Ye Shiqi in this world at all.” But when Tushan Zhen was born, a true king appeared in the false world. Then, in the false world, the real Ye Shiqi was also placed; Liu-Shiqi is this real Ye Shiqi, and only on the willow tree are there leaves.

A few days ago, I wrote a piece of tea: Tushan Jing is like a teapot on the surface, inside hiding Xiangliu and Xiaoyao. Xiangliu is the tea, Xiaoyao is the water, and Tushan Jing is the tea fox (the pot).

Here are a few examples of how the two are similar, merged, and connected:

  • For instance, in the final letter between Xiangliu and Tushan Jing, Xiangliu is wearing blue. Blue is usually the color Tushan Jing wears. However, blue also represents the sea and the sky, which should be Xiangliu’s exclusive color, yet Tushan Jing happens to like wearing blue. Meanwhile, under Tushan Jing’s outfit, he is wearing Xiangliu’s hidden colors of black and white. For those unclear about this, you can refer to my letter interpretation.


  • The wooden wind chime is Xiangliu’s exclusive item, yet the crystal wind chime has become Tushan Jing’s exclusive item. Both characters have wind chimes. The main point is that the crystal comes from the extreme north; Xiangliu spent over a hundred years there and mastered ice magic. Fangfeng Bei also went to the extreme north, carrying thousands of crystals back home. The crystals should all be related to Xiangliu. Yet every time, it is Tushan Jing who appears holding the crystals. In Tushan Jing’s residence, the Yu Mansion, crystal wind chimes are hung. He also gave Xiaoyao a string of crystal wind chimes to hang in the Huichun Hall. To save Xuan, Xiaoyao even went to Tushan Jing to request two more strings of crystal wind chimes.

  • When Xiaoyao was seriously injured, Xiangliu first treated her. Later, when Xiangliu ran out of medicine, Tushan Jing took over and carefully treated her. This highlights the continuity between the two.

  • Xiaoyao often speaks to Jing the words she wants to say to Xiangliu, even treating Jing as a substitute for Liu. (It should be noted that Xiaoyao and Xiangliu are connected through the Gu lover)

  • Also, regarding the final ending, it is said that Liu saved Jing so he could accompany Xiaoyao, which is another form of continuity.

  • At the very end, in the letter, Ye Shiqi goes to the pharmacy where Xiaoyao is, and Xiangliu’s wooden wind chime appears. This should also indicate that at this point, Ye Shiqi is Xiangliu as well.

  • Xiangliu has nine heads, and Tushan Jing has nine tails—one at the beginning, one at the end. In the end, a few of Xiangliu’s heads are gone, and several of Tushan Jing’s tails are broken. However, Tushan Jing does not live long; Xiangliu is resurrected under the Ye Shiqi disguise. This is where Chang Xiang Si differs from Dream of the Red Chamber in the ending

Actually, there are many more examples that I won’t list one by one, and everyone is welcome to leave their thoughts in the comments.

Therefore, I think in the end, the “Chuanzi” (串子) is two mouths joined together, which in fact strings the two Ye Shiqi characters together. At first, Chuanzi was just freeloading ( taking advantage without giving back) and even changed his mind at times—that is the nature of Jing Shiqi. Later, it turned into genuine affection, becoming Liu Shiqi. In the end, Chuanzi and Sangtian successfully married, and with Sangtian’s descendants flourishing, it represents the merging of the two. Sangtian survives until the very end.


Key points: The Ye Shiqi who returned from Yushan is Xiangliu after the great battle, having let go of everything. 

(1) Ye Shiqi did not originally exist in the world

 (2) When Xiao Liu was naming the recovering Tushan Jing, she casually picked a branch of green-leaf medicinal herbs and let Mazi (whose memory is poor, according to the book) count the leaves. Mazi counted sixteen leaves as seventeen, and at that moment, Tushan Jing was named Ye Shiqi. In the drama, the use of sixteen leaves hints that Tushan Jing is not truly Ye Shiqi

(3) During the Merlin massacre, one of the killers (several killers symbolize the protagonists’ fate) is an orphan named Shen Zhong. If you break down the name: Shen (申) represents “leaf,” Zhong (柊) contains “ten,” and the remaining strokes add up to seven, forming the name Ye Shiqi.

Key points: The Zhong tree (柊), also called “Zhongmei” (柊楑), is a medicinal herb and was the branch used to name Ye Shiqi. “Zhongmei” is linked to Zhong Kui (钟馗) and the nine heads—understand? The real Ye Shiqi is the one with nine heads. Fangfeng Bei has 17 strokes, Baozhu has 17 strokes, and Tushan Jing’s character Jing (璟) has 16 strokes. In the episode about the wedding snatching, Xiangliu mocks Tushan Jing, saying he is “sometimes six, sometimes seven,” and “if Xiao Yao cared about family background, there would never have been any Ye Shiqi in the world.” Clearly, the one who truly understands the meaning of the name Ye Shiqi is also Xiangliu. Shen Zhong’s fate was to see how many kinds of torture he could endure—he did not die.

In the book, Xiao Yao asks Tushan Jing, who has returned from Yushan: “Jing, is that you?” He replies, “I am Wen Xiao Liu’s Ye Shiqi.” The phrase “Wen Xiao Liu’s Ye Shiqi” is only used twice in the book; the first time comes from Xiangliu at the bottom of the sea.

 AkuMau:
“Yaoliu Jing in Chang Xiang Si corresponds to Bao, Dai, and Chai in Dream of the Red Chamber.”

I just saw a video dream casting Tan Jian Ci and Yang Zi for Dream of the Red Chamber.  I've thought about reading it, but I'm not sure how much would go over my head. 

 Kokuto:

I just saw a video dream casting Tan Jian Ci and Yang Zi for Dream of the Red Chamber.  I've thought about reading it, but I'm not sure how much would go over my head. 

Could you share the link? I also came across it on Facebook—someone posted a link discussing the cast revealed for Zheng Xiaolong's new Dream of the Red Chamber, featuring Tan Jianci, Song Zu'er, Bai Lu, and Li Yitong as Jia Yuanchun

Xiangliu’s Letter to Xiao Yao: Finding Evidence of Xiangliu’s Return and Its Interpretation


“Xiao Yao, I hope this letter finds you well!”

Analysis: First, look at Xiangliu’s outfit—it’s blue, a color he has never worn in the drama. It has become the color of Ye Shiqi’s clothes, and the clothing color matches the material and color of the curtain that Ye Shiqi was drawing halfway while writing the letter. His modern hairstyle and face suggest that his ancient costume face will eventually disappear. The outfit is still in ancient style, indicating that he will accompany Xiao Yao in the identity and appearance of Ye Shiqi. The background is similar to the background when Ye Shiqi was writing the letter, with a four-petal cutout flower representing the four generations. I mentioned this in my article “Whipping.”

Later, there are several black backgrounds accompanying this outfit, giving a feeling like a soul.

“The bright moon rises over the sea again, though it’s not as beautiful as the time we admired it together.”


“Today I finally gathered all the materials needed to forge the bow and arrow. The sea demon is cunning, and the merfolk are fierce, but when the sea demon’s pill and the merfolk’s bone are combined, they can create a truly excellent bow.”


“If you wish to make good use of this bow, you must diligently practice archery to protect yourself. When the time comes, I will have someone deliver the bow to you, because I don’t want you to feel indebted, as I know you want to repay everything.”

“If you were really to repay everything, I’m afraid there would truly be no connection left between us.”
Analysis: So, it hasn’t all been repaid yet, right? There will still be connections between you two.

“Xiao Yao, I will make sure you can protect yourself, have someone to rely on, and have a place to go.”
Someone to rely on: Includes the shot of him and Xiao Yao falling into the sea together, where Xiao Yao suddenly hugs him; also the scene of the two sitting side by side in the seashell watching the moon, and their first underwater breath-sharing kiss.

A place to go: Includes the following two shots, with the line: ‘I’m here, you don’t need to be afraid.’

Analysis: ‘I’m here, you don’t need to be afraid.’ This is shown with shots of Xiangliu fighting and making a deal with Fangfeng Bei in the extreme north. It implies he didn’t die in the great battle, made a deal with the fox, and consumed the fox to take Ye Shiqi’s identity?

“Even if this power harms me, this person is not me, I am absent from this place, but if you can experience this world properly in my stead, that is enough.”

Analysis:

‘This power harms me’: Includes the underwater rejected-kiss scene 37 years later, the scene where Xiao Yao is taken away by Maoqiu after waking up 37 years later, and Xiangliu entering the seashell.

‘This person is not me’: After the red-eyed moment at the entrance of the death arena, he forces Xiao Yao into Jing’s arms; the shot after Xiao Yao and Jing leave shows his sense of loss.

‘I am absent from this place’: Includes the following two shots: “The only person I want to torment is you.”

Analysis: Suddenly he realizes something; his eyes shift and light up. He understands that the only person Xiao Yao wants to be with for life is him. Afterwards, he smiles.

“But if you can properly experience this world in my stead.”

Analysis: Xiangliu will experience this world on his behalf in the identity of Ye Shiqi 

Xiao Yao (OS): “It’s okay, next time, you can take me out to play again.”

Xiao Yao (OS): “Xiangliu!”

Xiangliu turns around.

Analysis: Xiangliu turning around signifies that he has returned.

Then, the ancient-costume, white-haired Xiangliu disappears on the surface of the sea.

Analysis: Another person holds Xiao Yao’s hand inside the ice crystal ball. He is the Xiangliu version of Ye Shiqi. The white-haired Xiangliu identity has not disappeared, as if existing in another world.

“Jing’s letter to Xiao Yao, interpretation of the evidence of Xiang Liu’s return.”


Today, I accidentally saw the official release — in Jing’s letter to Xiao Yao, I discovered the hidden ending of Season 2, the secret of Xiang Liu’s return under the identity of Ye Shiqi.

“Xiao Yao, once you learn longing, you will suffer from longing.”

Weren’t the two of them supposed to be together forever? Why would there be longing?

Notice Jing’s clothing — both white and black are the colors Xiang Liu used when hiding his identity. Look at Xiang Liu’s two sets of outfits. Pay attention to the background: it is the study room of the Tu Shan residence, with half of a blue curtain drawn. The color and material of the curtain are the same as the clothing Xiang Liu wore when writing a letter. This indicates that Ye Shiqi, the identity used to conceal Xiang Liu, in ancient attire, symbolizes that in the final ending he always existed in Xiao Yao’s world.

White and black clothes

When practicing archery for the first time, Xiao Yao wore this green outfit. And in Fangfeng Bei’s scene, there were the black and white clothes. Could it be the same clothes that Jing is now wearing while writing the letter?

“You are the one who taught me longing.”

While the snow is falling, Xiao Yao gazes at it — whom is she missing? Xiang Liu, who is symbolized by snow. Xiang Liu once made it snow for Xiao Yao.

“From the day you saved me, I knew I could never leave you.”

Cutting the wrist to feed blood — this also represents the connection with Xiang Liu, since later there is also blood feeding from the wrist. Those who have seen my Episode 2 analysis should know that this beggar might also be Xiang Liu.

Then came the final scene of Episode 2, which is different from the beginning of Episode 3. Some bloggers have analyzed that these are two different people, as Xiao Liu’s reactions are not the same.

the first time seeing Fangfeng Bei from inside the veiled hat

“But you saw me.”

Here they actually used the scene in the song-and-dance hall, when Xiao Yao, inside the veiled hat, saw Fangfeng Bei for the first time. With so many scenes of Jing and her together, was there really a need to pick this one?

Look closely, the wooden wind chimes behind Jing — wooden wind chimes represent Xiang Liu. When Xiang Liu seized the provisions, a row of wind chimes was cut through by his blade. When A Nian appeared, there were also many wooden wind chimes

Xiang Liu was also searching in the pharmacy. 

Do these two scenes look alike? Always searching.

What did the two of them see in the pharmacy?

"Xiao Yao, under the clear breeze and bright moon, I will surely stay by your side.”

They actually used the scene of Xiao Yao smiling at Fangfeng Liu in her boudoir: Fangfeng Bei, Xiang Liu, recalling the face painting in the Xingxing Mirror. With so many scenes of Jing and her together, was there really a need to choose this one?”

‘Clear breeze and bright moon’ refers to Xiang Liu, who will surely return to be with Xiao Yao in the fourth lifetime. I already explained the four-lifetime companionship in my previous post, ‘Whipping.’

The final call, ‘Shiqi!’ — he finally waited for it.

Xiang Liu also waited for it. Analysis: In the earlier episodes with the Qingshui Town storyline, many scenes serve as evidence that at the ending, Ye Shiqi is actually Xiang Liu’s return. In between, there are two versions of Ye Shiqi.


https://zhuanlan.zhihu.com/p/681233866

https://zhuanlan.zhihu.com/p/694908257

 AkuMau:

Could you share the link? I also came across it on Facebook—someone posted a link discussing the cast revealed for Zheng Xiaolong's new Dream of the Red Chamber, featuring Tan Jianci, Song Zu'er, Bai Lu, and Li Yitong as Jia Yuanchun

It isn't a real casting.  It sounds like a fan casting or maybe a fan vote.

https://youtu.be/NI5L_mv5N18?si=ZSou9g6lNIVTukfM