novelhk Chapter 969: After fighting for so many years, can’t I enjoy myself?
Chapter 969: After fighting for so many years, can’t I enjoy myself?
She never thought that she would be the one to sit in this position.
In her original plan and foreseeing, the ideal candidate for the position of head of the harem would be her younger sister, Lü Su. Lü Su was gentle and docile, and not prone to conflict. Having her in charge of the harem would not only safeguard the fundamental interests of her sisters and even her son, Gao Lin, but also, due to her tolerant disposition, would be less likely to provoke strong backlash and hostility from the other concubines, thus maintaining a semblance of peace within the harem. Lü Zhi had even already mapped out a blueprint for her younger sister's future exercise of power and the balance of power among various parties.
But Gao Yao's earth-shattering decision completely disrupted all plans. Now, it was Lu Zhi herself who was thrust into the spotlight! She knew her own character all too well—resolute, decisive, opinionated, even forceful. This trait was a powerful weapon in the struggle for power, but when wielding power, especially when maintaining balance within a complex female community, it easily became a target of public criticism, sparking dissatisfaction and resentment. The trouble had only just begun.
Lu Zhi's worries were not groundless.
Just as she expected, at this moment, in Yu Shu's courtyard, which was decorated in a slightly exotic style and was elegant and quiet, a small gathering concerning the future destiny was quietly taking place.
Yu Shu dismissed her attendants, leaving only herself, Xiao Yue, Tu Erna of Baiyue, Nazha of Zhentuo in the southwest, and Natasha of the Maurya Kingdom in the room. These concubines, each with their unique backgrounds, perhaps due to cultural differences or past frictions, naturally bonded together for warmth. Their faces now held varying degrees of solemnity and worry.
"Sister," Xiaoyue, who was more straightforward, spoke first, her tone barely concealing her anxiety. "How could the king...how could he let Sister Lu Zhi sit in that position? With her temper, I'm afraid we'll..."
She didn't finish her words, but the women present understood their unspoken meaning. Yu Shu's expression was serene, but a lingering shadow lingered in her eyes. She gently stroked a jade artifact from her homeland in her bosom, her voice ethereal and tinged with a hint of resignation: "The king's intentions are unpredictable. Now that the decision has been made, we have no choice but to obey. However... Sister Lu Zhi has always been very methodical and... has clear boundaries." She used rather euphemistic terms, but everyone could hear the subtle distance and scrutiny behind the "clear boundaries" that Lu Zhi held towards these "foreigners" or "latecomers."
Tu Erna fiddled with the animal bone chain on her wrist and said with unadorned candor, "The way she looks at us is different from the way she looks at Lü Su and Concubine Qi. I don't like that feeling, like we're always outsiders." Nazha and Natasha didn't say much, but their silent nods made their stance clear. This small group, united by similar circumstances, felt an unprecedented sense of crisis after Lü Zhi assumed control of the harem. To protect themselves, to avoid being individually defeated in future conflicts, they had to unite more closely, forming a tacit, implicit alliance.
This alliance, naturally, would not be overtly displayed; it might simply mean more frequent daily interactions, more timely information sharing, and a more consistent stance on matters of common interest. But its existence, for the new mistress of the harem, Lü Zhi, was undoubtedly a signal and a potential challenge that needed to be taken seriously.
Lü Zhi was so astute that she could almost imagine the discussions currently taking place within Yushu's courtyard. This unexpected transfer of power caught both sides completely off guard. Yushu and the others needed to reassess the situation and adjust their strategies; Lü Zhi, on the other hand, needed to quickly adapt to her new role, balancing all parties and maintaining stability under Gao Yao's watchful eye. This was far more complex and difficult than her previous role as an ordinary consort, solely focused on managing her own power.
At the banquet, there seemed to be singing and dancing.
Accompanied by the melodious sound of chimes and stringed instruments, a troupe of carefully selected dancers entered the stage. Dressed in light, brightly colored costumes, with long flowing sleeves and graceful movements, they performed a dance reminiscent of ancient Chinese culture, moving to the rhythm of the music.
Gao Yao sat in the main seat, admiring the performance before him, a complex and incomprehensible expression in his eyes. Coming from a later era, he knew full well that the art of dance, throughout the long history of China, was far more than a simple entertainment.
With the founding of the Western Zhou Dynasty, slavery was at its peak. Duke Zhou, through his creation of rituals and music, elevated music and dance to the political level of governing the country and maintaining national security. The six dances compiled during this period—Yunmen, Daxian, Dashao, Daxia, Dafu, and Dawu—were solemn and sacred rituals used to honor heaven and earth, ancestors, and extol the merits of the emperor, forming a core component of the ritual and music system. The Grand Music Department, a vast music and dance organization, not only performed but also educated the sons of the nobility. They entered school at thirteen, learning music, poetry, and minor dances. By fifteen, they learned archery and charioteering, as well as the Xiang dance. By twenty, they had mastered various rituals and major dances. These were the compulsory "Six Arts" of the nobility, designed to cultivate their appearance, demeanor, and inner cultivation.
During the Spring and Autumn and Warring States periods, when rituals and music were in decline, the sacredness of music and dance gradually weakened, and its entertainment function began to become more prominent. By the Han Dynasty, dance flourished both at court and among the people, with its forms becoming increasingly diverse. During the heyday of the Tang Dynasty, with the spread of foreign influences to the East and unprecedented cultural exchange, dance art reached a glorious peak, with masterpieces like the "Rainbow Skirt and Feathered Coat Dance" and a variety of folk dances, including vigorous dances and soft dances, all magnificent and dazzling.
Throughout history, dance has never truly died out. Initially performed in sacrificial ceremonies to communicate with the gods, it gradually evolved into diverse forms, including palace banquets, folk celebrations, and military exorcisms. Palace and folk dances mutually influenced and nurtured each other. An intriguing phenomenon is that even when war broke out between two nations, cities were destroyed and nations were lost, these skilled dancers and musicians often survived, unless they perished in the chaos. New conquerors and rulers, regardless of their background, relied on these arts to embellish peace, showcase their civil and military achievements, and satisfy their sensuality. This was a tacit inheritance of spoils on the stage of power.
Of course, destroyers like Huang Chao who completely broke all the rules and did not care about anything are rare exceptions in history.
Moreover, the level of openness among the ancients, especially in the specific context of palace banquets, far exceeds modern imagination. Dance, here, was a naked projection of power and desire. While dances performed for court officials might still have some solemnity and demeanor, performing them for the emperor alone was a completely different experience.
On the one hand, officials in charge of dance and music had to constantly select young, beautiful and flexible newcomers to enrich the team and maintain freshness; on the other hand, they had to be prepared at all times that a dancer might be noticed by the king with a look or a movement, and thus have a dramatic change in status. This in itself was a potential motivation to tempt dancers to give their all.