TTTQF Chapter 121

Wastefulness is Shameful

"This painting of autumn chrysanthemums is quite remarkable. Despite external pressures, it stands proudly on its branch, blooming with joy. It clearly reflects the artist's state of mind."

An old man with a white beard looks at the chrysanthemum painting with admiration. He obviously likes this painting very much.

On the other side, a refined-looking man with a thin mustache is lost in thought as he stares at a painting of frost-covered leaves. He comments, "Indeed, the frost-touched leaves are redder than the flowers of February. The setting sun is like blood, and the frosted leaves burn like fire, as if they are determined to burn away all the impurities of the world. A person with ambition should be like this."

Jiang Miao stands among the crowd, listening to them critique each painting one by one, feeling that they might be overanalyzing. However, he can't be certain, as scholars tend to enjoy expressing their feelings in subtle ways, presenting them through their various works.

As the paintings on the table dwindle, Jiang Miao suddenly feels a bit nervous. It is almost time for Pei Che's painting to be reviewed, and he has no idea how they will critique it. He glances at Pei Che beside him and notices that he doesn’t seem worried at all.

"What's wrong?" Pei Che notices his gaze.

Jiang Miao asks, "Aren’t you nervous at all? What if they say your painting isn't good?" The idea Jiang Miao suggests for Pei Che’s painting seems somewhat plain compared to these more profound works.

"Heh, it's not like I haven't heard such critiques before; I'm used to it by now." Previously, Pei Che has been troubled by criticisms that his paintings have form but no spirit, which is how he meets Jiang Miao in the first place. Now, he doesn’t think it is such a bad thing. Everyone has their own tastes—who says that everyone in the world has to have the same preferences?

Jiang Miao gives him a sympathetic look. Has he been criticized so much that he's become fearless?

As the two are talking, the group of critics has already shifted their gaze to Pei Che's painting. The painting depicts many elements, but what stands out the most is the golden sea of rice in the center. The heavy rice stalks bend the straw under their weight, humbly bowing their heads. At the edge of the rice field are a few elderly farmers holding farming tools, their faces beaming with the joy of a bountiful harvest. Their mouths are slightly open, as if they are saying something.

As soon as the painting comes into view, it is met with a burst of laughter. At this time, people often use paintings to express their aspirations, and plants like plum blossoms, orchids, bamboo, and chrysanthemums—symbols of integrity—are their favorites. Who has ever seen someone paint a rural scene? Is his ambition to be a farmer working in the fields?

"Perhaps he’s spent too much time with his merchant-born wife and has become so worldly," someone mutters quietly, their tone full of lament, as if mourning a noble spirit dragged down by vulgarity. Jiang Miao is left speechless.

"Now no one can say his paintings have form without spirit." This person is one of Pei Che's classmates and seems well aware of his shortcomings.

The onlookers are all busy analyzing the meaning behind Pei Che’s painting, but Jiang Miao is simply appreciating it. Although it depicts a rural scene, in terms of technique, composition, and color, it is an excellent piece. There aren't many people depicted, but the joy radiating from them leaps off the canvas, making autumn feel less like a season of desolation and more like a symbol of hope and joy.

The critics remain silent, and when the crowd gradually quiets down, the old man with the white beard asks, "Young Master Pei, could you tell us why you choose to paint this scene?"

Facing the elder, Pei Che politely cups his hands and replies, "After autumn begins, as soon as you step outside the city gates, this is the sight that greets you. The people are busy all year long, but the harvest season is always full of joy. Farming is the foundation of the nation. When I think of autumn, this scene naturally comes to mind, which is why I paint it."

The old man strokes his beard and says, "A heart of innocence is truly precious."

The refined man gazes at the painting, picks it up, and says with a sigh, "Sowing one grain of millet in spring—how many storms must it endure before it can yield a harvest of ten thousand seeds in autumn? The sweat shed by the common people is something we can never truly fathom."

Jiang Miao feels a sense of admiration—these people's ability to interpret art is truly professional. As expected of scholars, they can expand the meaning of a painting to reflect the nation’s welfare and the lives of its people. The good thing is, after these insightful comments, anyone who has been planning to criticize the painting is now silenced. Once such matters are involved, people become more cautious about what they say.

In the end, this painting of an autumn scene, so different from the others, is rated as an excellent work. Even those who feel dissatisfied have no grounds to argue and have to let it go.

Next comes the main event of the Mid-Autumn Poetry Gathering: “Composing Poems to Capture the Spirit of Autumn.”

With the buildup from earlier, everyone knows what kind of poem they need to create. As soon as the announcement is made, those chosen to participate in the competition immediately begin writing at their desks. Their fluid movements indicate they have come well-prepared.

Pei Che has also signed up for this event, so he takes a seat and starts writing. Jiang Miao, standing on the sidelines, can’t tell what he is writing, but judging by his slower pace compared to the others, it seems Pei Che is carefully selecting his words.

As the incense stick is about to burn out, Jiang Miao thinks to himself, Serves you right for being so aloof and not asking about the topic in advance! His face clearly shows his nervousness.

The people in the hall finish their poems and leave one by one, leaving their work behind. Pei Che is the last to leave. As soon as he comes out, Jiang Miao rushes up to him, asking, "Did you finish?" He looks so anxious, like a parent waiting outside an exam hall.

Pei Che nods and, with a playful smile, teases, "Why are you so nervous? I didn't expect Ah Miao to be so competitive." Ever since Pei Che's previous competition, Jiang Miao has been in this constant state of nervousness.

Jiang Miao rolls his eyes, "I'm only worried you'll embarrass yourself if you lose." He isn’t particularly hung up on winning or losing—after all, in his past life, the most common phrases he hears are things like "Friendship first, competition second" and "It's the participation that counts."

Pei Che grabs Jiang Miao’s hand and gazes at him intently. "I knew it—Ah Miao cares about me."

Feeling uncomfortable under his gaze, Jiang Miao pulls his hand back and snaps, "Are you crazy?" Pei Che isn’t offended by the outburst and continues to tease Jiang Miao with words.

Han Qin, who has been keeping an eye on them, can’t help but find the scene amusing. These two, with such vastly different backgrounds and personalities, have an unexpectedly harmonious dynamic. Moreover, from Han Qin’s perspective, it seems like his good friend Pei Che is the one more deeply invested.

Since poetry evaluation requires careful analysis of things like rhyme and tone, which could easily be disturbed by spectators, the Marquis of Xinyang instructs his servants to set up tea and refreshments in a nearby flower hall. He invites the others to rest there while the judges work.

Jiang Miao follows them into the hall, where he finds at least twenty types of refreshments laid out, along with an assortment of dried fruits, candied snacks, and seasonal fruits. While everyone else drinks tea and chats, he samples nearly everything on the table, looking as happy as a mouse that has fallen into a rice jar.

In fact, Jiang Miao can afford these kinds of treats, but he is naturally frugal and never buys so many different kinds of food at once to have at home. Without refrigerators here, storing food is difficult. If he buys too much at once, it spoils. Having learned his lesson after one bad experience, Jiang Miao only buys what he can eat at a time and never purchases excess again.

"Look at him!" someone mutters quietly. "He acts like he’s never eaten before."

"People from humble backgrounds naturally care more about food." Another person remarks, pretending to be understanding but with an air of superiority.

"Has the Duke of Zhongguo's household fallen so low that they don’t even provide proper meals for their lady?" someone wonders aloud.

As they are gossiping, a voice suddenly interrupts their discussion.

"My wife is none of your concern. I advise you all to first learn to reflect on your own faults in silence and avoid gossiping about others." Pei Che's face is full of mockery as he looks at those who enjoy talking behind people's backs.

The person who has just spoken stiffens and retorts, "A righteous person should correct themselves first. If your esteemed wife hadn’t acted improperly, how could he have sparked others' criticism?"

"What do you mean by 'acted improperly'?" Pei Che's expression darkens.

"When resting, one should quietly savor fine tea and cultivate oneself, not be overly concerned with indulgence. That is the demeanor of nobility. Your esteemed wife, upon entering, hasn't stopped eating. Such small-minded behavior is truly an eyesore," the person declares self-righteously, and to Jiang Miao's dismay, several others nod in agreement.

Jiang Miao, noticing Pei Che surrounded by the crowd, squeezes his way over just in time to hear this remark. He is momentarily stunned, then asks, "Are you talking about me?"

The person has been speaking to Pei Che, and while Jiang Miao doesn’t know what 'lìng zhèng' means exactly, he can guess it refers to something like 'your spouse,' so it must be about him.

(TN Notes: (lìng zhèng) is a polite and formal way of referring to someone else's wife in Chinese. It's commonly used in traditional or formal speech to show respect when talking about another person's spouse, especially in conversations where maintaining decorum is important.In English, it would be equivalent to respectfully saying "Your esteemed wife.")

"You’re quite self-aware," the person sneers, trying to cover the awkwardness of being overheard by the one they are criticizing. The commotion catches the attention of others, who silently observe the situation, noting Pei Che’s dark expression. It looks like a confrontation is brewing.

"No, seriously, I want to ask you—aren’t these things on the table here for eating? If you’re not eating, he’s not eating, and I’m not eating, then who should eat it? Should we just throw it away?" Jiang Miao is frustrated—he hasn’t even called them out for wasting food yet!

The person chokes on their words. "Whatever is left can be given to the servants as a reward."

"Are you out of your mind? You spend all that money buying food only to leave it untouched and then give it to the servants? Why don’t you just give them the money and let them buy it themselves?" Jiang Miao finds it utterly absurd. The food is clearly meant to entertain the guests.

"How dare you insult me?" the person snaps in anger.

"Weren’t you the one insulting me first?" Jiang Miao chuckles. "You lot think it’s fine to gossip about me behind my back, but I can’t say anything to you? You think I’m eating too much, but I think you’re wasting food! Didn't that gentleman just say earlier how hard it is to grow crops? Do you know the poem Sympathy for the Peasants? You know what 'Every grain on your plate comes with the farmer's toil' means, right? If you don’t want to eat, that’s your business, but what does it matter to you how much others eat? Why are you running your mouth?"

Jiang Miao’s barrage of words leaves the other person speechless. Unable to think of a rebuttal, they can only mutter "vulgar" to express their disdain for Jiang Miao.

Another person says, "How can giving leftovers to the servants be considered wasteful? You have no compassion; how can you expect them to willingly work for you?" That person seizes on Jiang Miao's own words to launch an attack.

"Are you saying that you want others to be grateful to you for giving them food you won’t eat? Every time I eat, I always prepare extra so that they can join in," Jiang Miao retorts. He has never been one to eat alone or to pass off food he can’t finish to others while expecting gratitude in return. If he truly has a compassionate heart, that would be one thing; but since he is merely trying to buy people’s affection, there is no need to create such a lofty image for himself.

The expressions of the others are not very pleasant; it seems they have all done such things. In their view, it is acceptable to leave the food untouched and give rewards to the servants; after all, with their status, how can they eat such things? How can Jiang Miao's words turn the tables and make them at fault?

Pei Che watches Jiang Miao engage in a verbal battle with the scholars, and his expression gradually changes from gloomy to bright. Looking at the silent crowd, he slowly says, "Looking back at the wise men of the past, a nation and a family prosper through diligence and frugality, while they decline through extravagance. Let us all strive together."

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