The Bright Lines and Dark Lines of the Romance of the Three Kingdoms
The Romance of the Three Kingdoms was a classic Chinese classical novel. Its overt and understated lines referred to the main plot and secondary plot expressed through various plots and characters in the novel. Bright lines referred to the main storyline that was directly expressed in the novel, such as the battle for hegemony between Cao Cao, Liu Bei, and Sun Quan during the Three Kingdoms period, as well as the loyalty, betrayal, resourcefulness, and bravery of the various characters. The hidden plot referred to the secondary storyline implied by various plots and characters in the novel, such as the political struggle between the various forces during the Three Kingdoms period, the psychological game between the characters, and the revenge of the family. In the Romance of the Three Kingdoms, the bright and dark lines interweaved with each other to show a complete story world through various plots and character creation. At the same time, the Romance of the Three Kingdoms also became an important part of Chinese literature and culture with its rich cultural content, historical value and social value.
The Bright Lines and Dark Lines in the Fictions
The overt and hidden lines in the novel referred to the clues and plots that were clearly shown in the plot of the novel, as well as those that were not directly shown but played an important role in the entire story. Bright lines refer to those plots that are clearly shown at the beginning or in the middle of the novel. They are usually conversations between the protagonists, events, or relationships between the characters. They can be shown through descriptions, conversations, actions, and so on. Bright lines could make the story more coherent, allowing the readers to better understand the relationship between the characters and the development of the plot. Hidden lines were those plots that were revealed at the end or in the middle of the novel. They were usually some suspense or secrets hidden in the story that needed to be revealed through plot turns and the reactions of the characters. Hidden threads could make the novel more fascinating and make the readers look forward to the further development of the story. In a novel, the overt and hidden lines were usually intertwined. Together, they formed the entire story's network. Through the interaction of the bright and dark lines, the novel could present a more complicated and three-dimensional story structure and character relationships.
The Bright Lines and Dark Lines in the Fictions
The overt and underhanded lines in a novel referred to the obvious clues and hints in the story as well as the hidden clues and plots in the story. Bright lines refer to the obvious clues and plots in the story. These clues and plots are usually displayed in a clear way for the reader to understand clearly. For example, the relationship between the characters, the background story, and the development of events in the novel. The hidden clues and plots in the story are usually not shown in a clear way but need to be hinted and revealed in other ways. For example, the dialogue between the characters in the novel, the psychological activities, the honey-mouthed sword in the belly, and so on. The bright and dark lines were very important elements in the process of writing a novel, which could enhance the interest and legibility of the story. When writing a novel, the author needed to be good at using the overt and hidden clues to make the story more colorful and attract the interest of the readers.
The article has dark lines and bright lines.
The hidden plot of the article refers to the story or the relationship between the characters that are not clearly expressed in the article but can be guessed by the reader through context or other means. Bright lines meant that the readers could understand the story or the relationship between the characters directly from the article. In writing, the dark lines often helped to shape the characters, promote the development of the story, and also increase the suspense and appeal of the article. However, the excessive use of hidden threads might cause the article to be too long for the reader to understand and remember.
The classic lines of the Romance of the Three Kingdoms
There were many classic lines in the Romance of the Three Kingdoms, including the famous "Why use a sledgehammer to kill a chicken". This line originated from the Analects of Confucius. When Confucius heard the sound of singing and playing the piano in Wucheng, he smiled and said," Why kill a chicken with a knife that kills a cow?" This meant that it didn't take much effort to do small things. In Romance of the Three Kingdoms, this line was quoted many times. For example, in the fifth chapter, the person behind Lu Bu said loudly,"Why use an ox knife to cut a chicken? There's no need to go in person." The meaning of this sentence was not to solve the problem in a way that was overkill. In general, the line " Why use a sledgehammer to kill a chicken " was used in Romance of the Three Kingdoms to describe how small things did not require excessive strength or resources.
The classic lines of the Romance of the Three Kingdoms
The 94 edition of Romance of the Three Kingdoms had many classic lines and famous scenes. We can see some classic lines and famous scenes from different episodes. For example, in the 60th episode, Cao Cao said," Guan Yu is scary when he's alive, scary when he's dead, and even scarier when he's dead and alive!" This was an eye-catching line. In the twenty-third episode, Shen Pei said,"As a minister of the Yuan family, I will die as a ghost of the Yuan family." Not like you, slanderers and flatterers! Kill me quickly!" This was a line to express loyalty. In addition, there were some lines and famous scenes from other episodes, but because the search results provided were incomplete, more specific lines and famous scenes could not be given.
The classic lines of the Romance of the Three Kingdoms
A real man doesn't contribute to the country, but sighs here. What is a real man?
What are the bright and dark lines of the article?
The overt and hidden lines of the article referred to the theme and emotional clues that were clearly expressed in the article, as well as the other content that they implied. Bright lines referred to the theme and emotions directly expressed in the article, such as the emotional entanglement of the protagonist, the cause and effect of the event, the relationship between the characters, and so on. These topics and emotions could be vividly expressed through the language, plot, and characters of the article. Hidden lines referred to the theme and emotions that were not directly expressed in the article but hinted at through other clues, such as the character's inner monologue, plot twists and changes, and the description of the environment. These hidden lines could help the readers better understand the theme and emotions of the article, and also provide background and clues for the subsequent development of the article. In novel writing, both overt and understated lines were important creative techniques. Through them, one could construct an emotional and dramatic story to attract the interest and resonance of the readers.
What are the bright and dark lines of the article?
The overt and hidden lines of the article referred to the lines that were clearly shown and the lines that were not clearly shown in the story. Bright lines referred to the storyline that the author directly and clearly stated in the article, such as the protagonist's life experience, background, experiences, goals, etc. These plots are usually clearly stated at the beginning, middle, or end of the article, and the reader can directly learn about them by reading the article. Bright lines were usually the main clues of the article that drove the development of the story. Hidden lines referred to the storyline that the author did not directly express, but implied or expressed in other ways, such as the expressions, words, actions, etc. of the characters. These plots usually appear in some details of the article that do not directly involve the subject, but can be inferred by the reader through the context and other factors. The hidden lines were usually important clues in the article to provide support and hints for the development of the story. The overt and hidden lines were both important parts of the story. They could promote the development of the story, shape the image of the characters, and bring different reading experiences to the readers.
Classic lines from Romance of the Three Kingdoms
There were many classic lines in Romance of the Three Kingdoms. The following were some famous lines: 1. I would rather let the world down than let the world down! Cao Cao 2. Boiling wine to discuss heroes, the brave will win when they meet on a narrow road. Cao Cao 3. The only heroes in the world today are you and Cao Cao. Cao Cao 4. The conduct of a gentleman is to cultivate one's moral character by being quiet and frugal. It is not clear that one's aspirations cannot be clear without being light and white, and it is not quiet that one cannot reach far. a person of great wisdom and resourcefulness 5. Ambition should be high. a person of great wisdom and resourcefulness 6. Don't be proud of your talent, but be proud of others. Don't be spoiled, but be mighty. a person of great wisdom and resourcefulness 7. You should not belittle yourself. a person of great wisdom and resourcefulness 8. If you don't learn, you can't expand your talent. If you don't have ambition, you can't learn. a person of great wisdom and resourcefulness These lines displayed the personalities and wisdom of the various characters in Romance of the Three Kingdoms, and also reflected their firm beliefs and pursuits in troubled times. These classic lines not only had an important dramatic effect in the play, but also became people's thinking and inspiration for the Three Kingdoms period.
Romance of the Three Kingdoms classic lines catchphrase
The classic catchphrases in the Romance of the Three Kingdoms included: 1. Zhuge Liang's catchphrase was," I know a little, I know a little!" 2. Liu Bei's catchphrase was,"I am the descendant of King Jing of Zhongshan!" 3. Guan Yu's catchphrase was,"I will definitely kill him!" 4. Cao Cao's catchphrase: " I would rather let the world down than let the world down me!" 5. Zhuge Liang's favorite saying was,"Ambition should be high." These catchphrases were of great significance in the Romance of the Three Kingdoms. They represented the characters 'personalities and circumstances, and they also became part of the cultural heritage.