Chapter 46: Recommendation "Son-In-Law" Author Boring Random Book Recommendations

Book Recommendation: *The Son-in-Law Who Marries into the Wife's Family*

Banana is a fascinating writer. It's said his original intention for writing was to hone his craft. Given his accumulated skill, he could undoubtedly ascend to greater heights, yet he always seems to remain in this realm. His plots are consistently cliché, but he possesses the unique ability to transform these common tropes into brilliant short pieces. In my opinion, his works represent the pinnacle of wish-fulfillment novels, or rather, the direction I believe such novels should take: profoundly satisfying while still offering depth.

Chinese tradition values thought much more than technique. However, ideas can be tricky; they are easily fabricated and evaluated by highly subjective standards. Only technique remains truly objective. Some argue that online novels disregard writing style, prioritizing creativity above all else. This is a misleading notion, and those who believe it will only harm themselves. Without a strong writing style to support it, an idea is worthless, especially in China's vast online environment, where a new concept can spawn countless imitations within seconds. Only one's writing style is truly their own.

"The subject matter isn't truly important, and it doesn't matter if it lacks novelty. What's crucial is telling a good story to the reader. Using the same ingredients, a master chef will always produce a dish superior to that of an ordinary person." Sanjiang's comments are often frustratingly unreliable, but this time, I rarely agree.

Some novels are too profound and end up gathering dust on a shelf, while others offer shallow satisfaction and are met with a wave of negative reviews. In life, people seek both fame and fortune, ideally achieving both. However, this is often a fantasy: some works are critically acclaimed but not popular, while others are popular but not well-regarded. Some choose the former, others the latter. Banana has achieved recognition, but his financial success is still somewhat lacking. What he truly lacks is update speed, which is the price of his meticulous attention to detail and prose. Yet, once his writing style reaches an even higher level, everything will become effortless; update speed will be a trivial concern, and both fame and fortune will be within reach. To quote *The Ravages of Time* describing the eldest brother: "The plan is for the long term." As Banana's fourth work, *The Son-in-Law Who Marries into the Wife's Family* is wished great success.

### The World Setting

"Jiangning—that was Nanjing's name during the Song Dynasty, but this isn't the Song Dynasty... The historical records I've seen always seem to have some discrepancies with the future world. This current dynasty is called Wu... It has some famous figures and circulating poems, but lacks others. For instance, Li Bai wrote some excellent poems and was called the 'Poetic Immortal,' but he died in a sword fight in Chang'an when he was young. Du Fu became an official, but because he was too rigid, he botched matters and was beheaded by the emperor..."

While still alternate history, the background settings are diverse. However, often the protagonist merely travels to "ancient times" rather than to an "ancient time in an alternate dimension." This distinction, seemingly minor, has a profound impact. If it's simply "ancient times," the characters in the novel will inevitably be constrained by "real history." When discussing alternate history, one must mention *A Step into the Past* as the originator or most influential work in this genre. *A Step into the Past* chose to respect the time-travel correction principle—that there is only one world and one history. Subsequent authors, however, became increasingly bold, leading to a proliferation of parallel world views, and Xiang Shaolong's original concerns are now disregarded. Regardless, any localized or complete changes to history always begin from the moment the protagonist arrives; before that, events follow the established historical trajectory. In such novels, readers inevitably "proofread" the historical details against their own knowledge as they read. Inevitably, there will be errors or omissions, leading to various factions—the Nitpickers, the History Buffs, the Rationalists, the "Only My Version Is Rational" Group, the "I Don't Like It" Party—rushing in to engage in endless debates. While this can be entertaining, if one wishes to avoid such conflicts, Banana's approach of deliberately transforming the Song Dynasty into the Wu Dynasty, and having figures like Li Pin and Cao Guan appear concurrently, is an excellent method.

### The Characters

**The Protagonist.** In his previous life, he started from nothing and built a financial empire, possessing boldness, ambition, and strategic skills. The establishment of this empire took two or three decades, costing him friendships, love, and even his innocence. He eventually died indirectly at the hands of a friend. Before his death, he began to reflect on the past, feeling a faint sense of regret. This character is quite similar to Jiaming, the protagonist of *Hidden Kill*, who starts at a certain height but feels the loneliness of being at the top. However, the protagonist of *The Son-in-Law Who Marries into the Wife's Family* is even more thoroughly established, standing at an even greater height. Jiaming, in his initial setup, probably wasn't at the peak from the beginning, perhaps not even first-rate; only later, as the plot developed, were his past identity, status, and abilities pushed to higher levels, contrary to the original intention. In contrast, the protagonist of *The Son-in-Law Who Marries into the Wife's Family* begins squarely at the apex, then transmigrates into the body of an ordinary person in ancient times. The most intriguing twist is his unfortunate identity as a live-in son-in-law, creating an immense contrast between his past and present. This is clever because, while his identity sounds unfortunate, the protagonist never truly experiences misfortune. Banana chose to establish the "satisfying elements" from a different angle, with the divergence in paths arising from different choices.

The Protagonist's Wife:1. Insults the protagonist2. Maintains a calm demeanor

The Maidservant:1. Insults the protagonist2. Is friendly

Writing Poetry:1. "Creates" for show2. Writes casually

After Transmigration:1. Believes he owns the world2. Responds rationally

Elder's reaction upon hearing protagonist's identity:1. Disdain2. Indifference

It's not just the protagonist; all the characters in the novel possess a calm and refreshing aura. Banana's world is quite idealistic, yet it contains nothing unreasonable. Must a live-in son-in-law necessarily have a shrewish wife? Must a maidservant despise her master? Do others have to show disdain regardless of the situation upon hearing his identity? Even a privileged scion like Xue Jin, when provoking the protagonist, chooses a subtly treacherous approach rather than an exaggerated, foolish, and ranting one. By "coincidence," the characters created by Banana all follow a similar path. This setup is both interesting and important. Without it, the protagonist's calm demeanor might have a counterproductive effect, and readers wouldn't be as filled with anticipation as they are now.

Another notable point in the prologue is that the protagonist's original name never appears; the entire chapter uses "he" instead. The transition from "he" to Ning Yi feels very natural because the awkwardness of a past life name is avoided. In many novels, when arranging past and present life storylines, the protagonist's name change is too abrupt. Sometimes, even when the character is clearly "another person," they insist on retaining the past life's name, while others refer to them by a different name, creating a very jarring effect.

**Su Tan'er**

Su Tan'er, Ning Yi's wife, deliberately ran away from her wedding for half a month, not out of willfulness, but out of shrewdness.

"You are not to gossip about me and my husband outside. No matter what, as long as he does nothing to harm the Su family, he is my husband, understand?"

Upon reading this, despite Su Tan'er's initial escape from the wedding, one can't help but develop a fondness for her. She is outwardly gentle but inwardly strong, possesses excellent social skills, and handles matters appropriately. Although displeased with the marriage, she understands what's truly important.

Through careful and deliberate descriptions, Banana meticulously builds Su Tan'er's admirable image step by step. She is beautiful and endearing, possessing both the delicate aura of a江南 water-town woman and inner strength. She is cautious and meticulous; upon learning that Ning Yi would be marrying into the family, she sent people to investigate and even personally observed him. She prioritizes her family, understanding the true intention behind the elder patriarch's arrangement of this marriage, and though she initially resisted, she ultimately resigned herself to her fate. Mature and courteous, she instructs her servants to treat her husband respectfully and avoid gossiping, and she patiently deals with the incompetent family members. She is kind-hearted and treats her subordinates well, as evidenced by the words and actions of the delightful character Chan'er. She is intelligent and calm, maintaining cautious affirmation and scrutiny regarding the protagonist's slowly revealed "special talents."

However, she is not a perfect person. Mentally, while mostly seasoned in her dealings, she also harbors girlish aspirations for the future. In terms of ability, despite possessing remarkable business acumen, she loves poetry and adores poets but lacks exceptional poetic talent herself.

Most importantly, she "is unaware of the protagonist's true worth." One of the key attractions of the novel is the evolving perception she has of the protagonist. To some extent, she stands opposite him; the protagonist is a live-in son-in-law in a society where women hold a higher status than men. Under such premises, countless authors habitually portray the female character as a caricature to highlight the protagonist's rise. Banana, however, does the opposite, elevating the wife's character, thereby properly complementing the protagonist's uniqueness. An extraordinary wife and an extraordinary son-in-law—a match made in heaven.

I particularly like Chan'er, a character created by Banana. If one had to define "adorable," Chan'er alone would suffice. My fondness for Chan'er even surpasses that for Su Tan'er, perhaps because this character interacts the most with the protagonist, appearing lively and endearing. In Chapter 3, the young girl loyally defends her mistress. Upon hearing an elderly person discussing the Su family's affairs, she immediately blushes and explains that her mistress has never mistreated her husband. Her expression is tense as she speaks, hands clenched into small fists, incredibly nervous and utterly serious. Later, the protagonist's teasing remark causes the girl to transition from silence to a choked sob.

"Even though Little Chan is just a maidservant who doesn't understand anything, she wouldn't gossip about such matters. If Master says words will spread, then he means Little Chan, means Little Chan... isn't proper..."

The protagonist's reaction is even more delightful: "Suddenly, he reached out and pinched her cheeks, pulling her face into a 'pancake.' This time, it was the little maid's turn to freeze, her eyes wide like lanterns, blinking twice." Little Chan was startled and a little shy, her face flushed and puffed up with indignation. She struggled to find words to describe Ning Yi's ruffianly behavior, finally managing only: "Master, you... you're bullying me!" But soon her anger dissipated, and she bounced along, chattering incessantly after the protagonist.

In Banana's writing, every gesture, word, action, and narration is perfectly placed, bringing this adorable little maidservant character vibrantly to life.

**Nie Yunzhu**

"Looking back, in the shimmering mist, a hen was frantically running around among the road and trees. Then, a woman in a grey and white cloth skirt appeared, holding a cleaver, relentlessly pursuing the chicken. The woman and the chicken frantically circled in the mist, appearing and disappearing."

Nie Yunzhu's introduction is very amusing, as she's chasing a hen. What's even funnier is what happens next: the hen, cornered, decisively jumps into the river, seeking survival in a desperate situation. The woman, perhaps a natural airhead, didn't notice the riverbank ahead. She swung her knife down, over-exerting herself, the knife flew from her hand first, and her body pitched forward, so...

In contrast to Su Tan'er's elegant tranquility and Chan'er's adorable vivacity, Nie Yunzhu's image is more like a 'big sister' type with a natural clumsiness, somewhat a hybrid of Su Tan'er and Chan'er.

For her first two appearances, Nie Yunzhu had no name, referred to only as "the woman" or "the lady." "Who is this lady?" "That woman has a good figure," was the protagonist's direct assessment. "Three lotuses floating in a jade pond... You live by the Qinhuai River and can't swim, can you..." This was the protagonist's exclamation after getting involved in the river-jumping incident. In her second appearance, the "lady" was still accompanied by a chicken. Unlike the previous time when she chased the hen into the river, this time the hen was within a fence. The "lady" hesitated for a long time with her cleaver, finally summoning the courage to go in and catch the hen, but she retreated in disarray due to the hen's fierce resistance. "Now it's clear, the woman indeed hasn't done much work, but her circumstances aren't good either," the protagonist surmised. By her third appearance, the "lady" finally had a name. She was teaching zither at the Jinfeng Pavilion's inner courtyard. After finishing her lesson, as she prepared to pack up and go home, a girl suddenly laughed and asked, "Sister Yunzhu, Sister Yunzhu, can you teach us to sing 'Water Melody'?" Thus, we learn that the woman who chased the chicken into the river is called Yunzhu, Nie Yunzhu.

"Nie Yunzhu was one of the most popular women at Jinfeng Pavilion a few years ago; her zither playing, singing, poetry, calligraphy, and painting were all exceptional... Later, she saved enough money to redeem herself and her maid, Hutao, and found a place to live. Other courtesans, even those who redeemed themselves, often maintained contact with many former patrons... but she almost completely severed ties with everyone from her past... She only continued to take on work teaching zither, just to earn a living."

Starting with the amusing incident of chasing a chicken into the river, then elaborating on her clumsy attempt to kill a chicken, and even involving the protagonist twice in being forced to jump into the river with her, the woman's mysterious veil is finally lifted due to the protagonist's casual inscription of "Water Melody." A unique former courtesan and an eccentric live-in son-in-law become entangled because of the chicken-chasing incident. Both are unconventional, and the sparks that fly between them are truly anticipated.

### Elements of Satisfaction

**Unaware of the Protagonist's Talents**

The Incompetent Su Tan'er's Relatives. In any novel of this type, incompetent characters are essential; they are a source of satisfaction for the reader. The protagonist is a live-in son-in-law, and the elder patriarch's intention in bringing him into the family is to pave the way for his eldest daughter, Su Tan'er, to gain control of the family's power. Naturally, the protagonist becomes an eyesore for the second and third branches of the family, destined to be provoked. Su Tan'er, a mere woman, was designated as the family heir because the male descendants of the other branches were useless. Meanwhile, the protagonist, after transmigration, has the background of an ordinary scholar with no academic talent, perhaps even worse than most scholars, otherwise he wouldn't have agreed to marry into the family. Thus, the spectacle of incompetent characters clashing with a live-in son-in-law naturally unfolds. The key draw here is that no one knows the transmigration protagonist has been reborn as Ning Yi, while the protagonist before transmigration was a financial giant, accustomed to navigating complex situations. The calculations of the other male family members thus appear utterly naive. There are generally two types of provocation scenarios: one where the protagonist turns the tide, and another where others bring shame upon themselves. *The Son-in-Law Who Marries into the Wife's Family* falls into the second category. The incompetent characters are certainly destined for self-inflicted humiliation, so the focus is on the process of how they bring it upon themselves. What sets this novel apart is Banana's choice of a calm and collected style for these scenes, rather than creating an excitable warrior. The protagonist remains unperturbed, viewing others as fleeting clouds. Even the "incompetent" characters aren't incompetent in the usual sense; their intelligence is quite normal. There are no overt loud arguments, only covert schemes. They understand the importance of poaching talent and know how to rely on elders to suppress the protagonist. Several scenes that would be boisterous in other authors' hands are remarkably calm under Banana's pen, with no dramatic ups and downs designed to manipulate reader emotions. Instead, he uses a slow, deliberate approach to gradually build long-term, consistent satisfaction. So far, the incompetent characters refuse to believe in the protagonist's abilities, yet readers "know" his extraordinary nature, thus anticipating their moth-to-a-flame provocations and eagerly awaiting the pleasure of seeing him play the pig to eat the tiger. Everything hinges on the protagonist's talents remaining unknown.

Unlike the stubborn ignorance of the incompetent characters, Su Tan'er, as the family's successor, is intelligent and astute, possessing exceptional judgment and strong opinions. While she maintains some reservations about the protagonist's demonstrated uniqueness, she leans towards appreciation. This process, moving from understanding to not understanding, is undeniably captivating. While it's satisfying to watch the incompetent characters be outsmarted, that's merely an appetizer. Conquering a beautiful, strong woman is the main course. So how can she be conquered? One can start with her "weaknesses." What are a strong woman's "weaknesses"? She loves poetry and adores poets, and the protagonist just happens to gain fame through poetry. As the family's successor, she is responsible for developing the family business, yet a casual remark from the protagonist leads to a successful family venture. She was born in ancient times; though intelligent, she is ultimately limited by her era. The protagonist, however, comes from modern times, a powerful figure who has weathered many storms and reached the pinnacle, ultimately longing for an ordinary life and wishing to return to simplicity. In terms of spiritual realm, he surpasses her. In this battle of wits between man and woman, given his status as a live-in son-in-law, the protagonist should theoretically be at a disadvantage. However, readers never perceive him as such. This ideal situation stems from two arrangements: first, the protagonist's past life background is very strong, and second, Su Tan'er treats the protagonist kindly. As the saying goes, "a scholar meets a soldier, and reason cannot prevail." If Su Tan'er were merely a crude shrew, the protagonist would likely have to adopt a different attitude, and the novel would be unable to maintain its fresh and understated style.

**Discovering the Protagonist's Talents through Interaction**

Chan'er, Nie Yunzhu, Elder Qin, and Elder Kang. Unlike Su Tan'er's balanced offense and defense, Chan'er and Nie Yunzhu's defenses are not as strong, making them easier to "conquer." However, being easy to conquer does not mean a lack of satisfying elements. The process of conquering Su Tan'er is a long-term endeavor, and a true master must consider both short and long-term goals, complementing any deficiencies, especially given the limited patience of contemporary readers. The most delightful thing in the world, naturally, is something "that can be eaten but hasn't been yet." As the saying goes, "the moon is first seen by those closest to the water pavilion," and the reverse is also true. As the protagonist's personal maid, Chan'er, encountering a master who enjoys putting effort into small things, is naturally attracted to him without realizing it. Ancient people loved poetry and lyrics. The protagonist's "Water Melody" poem achieves three goals at once: the line "A thousand miles share the same beautiful moon" makes Chan'er blush, earns the admiration of Elders Qin and Kang, and even creates a stir in the poetry world. It is noteworthy that while "Water Melody" was the catalyst for Chan'er's "conquest," Elders Qin and Kang's appreciation stemmed from their prior acquaintance with the protagonist, and it was the questioning of others that constituted a normal reaction. This reminds me of *Overlord* by Skeleton Elf, where the poetry recitations are deadly cringe-worthy. Aside from the incongruity in a world of orcs, the silly trope of the entire world immediately bowing in reverence after one good poem is simply unacceptable. Unlike Chan'er's constant proximity, Nie Yunzhu only has a few encounters with the protagonist, yet she leaves a deep impression. The classic "hero saving the beauty" trope, under Banana's pen, feels unconventional, with the beauty following a chicken into the river, prompting an irresistible smile. As a protagonist, one naturally needs to balance refinement with common appeal. The line "A thousand miles share the same beautiful moon" makes the little maid's heart flutter, and the song "Garan Rain," with its lyrics "Stained by the mortal world, follow me, wandering through life," makes the beautiful Nie's heart pound. From "share the same beautiful moon" to "follow me, wandering through life," Banana clearly didn't choose these lines at random; he had a purpose. Chan'er, as a young maid, doesn't know much about poetry, so the "explicit" "share the same beautiful moon" hits her right in the heart. Nie Yunzhu, on the other hand, is exceptional in zither, singing, poetry, calligraphy, and painting, so poetry isn't a rarity for her. Instead, the popular song "Garan Rain," being ahead of its time, has a unique charm, especially the line "Stained by the mortal world, follow me, wandering through life," which strikes a chord with a former courtesan. If Chan'er and Nie Yunzhu are the important main courses, then the appreciation of Elders Qin and Kang serves as the necessary side dishes. These two elders act as a protective umbrella in the novel, providing authoritative validation for the protagonist's "sudden genius," similar in principle to Su Tan'er's setup, forming the basis for the novel's overall calm style.

My criticism is not directed at the author, but at certain unbelievably demanding readers. Some "experts" claim, "Is the protagonist a financial tycoon or an art master? Being both a financial tycoon and an art master is just showing off." Hey, "expert," do you even know what showing off means? It's showing off when you plagiarize without genuine material, when you pretend to understand what you don't, or when you gloat over something that isn't truly yours. The protagonist excels in penmanship—do you realize how brilliant that setup is? Can you be any more ridiculous? Whenever someone transmigrates to ancient times, plagiarizing poetry is inevitable because no one in modern times can compose masterpieces that surpass Tang or Song dynasty poetry. Unless they're fools, no reader expects an author to create original poems that defeat ancient masters; this is far beyond the capabilities of current writers, let alone any "masters" or "PhDs." Therefore, the arrangement of using ancient poems to gain prestige is unavoidable. However, since these are ultimately others' works, even if Banana deliberately uses the protagonist's "delayed realization," "inadvertence," and "disregard for fame and fortune" to downplay the awkwardness of plagiarism in the scenes where poetry brings prestige, the suspicion of using others' works to show off still lingers. Thus, a skill was designed for the protagonist to prove he is not an "ignorant plagiarist." The brilliance of the penmanship skill lies in its contrast to the subjective quality of poetry. This ability can be shaped through text without involving the author's personal skill. Without this ability, the protagonist would indeed be truly showing off. A good setup is being criticized as showing off—can you be any more absurd?

And then there are other "experts" who claim that the protagonist's investigation into the female assassin in the second volume is a "brainless plot." Oh, you unbelievably demanding "experts," can you get any more ridiculous? Don't blame others for calling you shut-ins; you're probably the great "experts" who fear car accidents when riding in cars, plane crashes when flying, and choking to death when eating. You are even stronger than the protagonist! We don't ask you to possess the protagonist's psychological resilience—his fearlessness in the face of death, his willingness to confront guns, and his familiarity with danger—but at least have the intelligence to understand. Does the protagonist *have* to learn peerless martial arts before transmigration to be able to confidently pursue a female thief? Otherwise, should he just hide at home and wait to die? I truly wish there were more "adorable" people like you in the world. If you get the chance, please infiltrate the U.S. military as spies to propagate your peerless ideology. Forget major wars; even a minor skirmish can result in several deaths. Earth is a dangerous place; people sometimes get hit by falling objects and die while walking on the street. Perhaps you should just stay home. Oh, infiltrating the U.S. military as a spy is too advanced for you; start with the basics. Please tell those street thugs that they're brainless. They provoke trouble everywhere without peerless martial arts, practically seeking death. They fight with knives and guns without peerless martial arts, practically seeking death. Why don't they understand that the serious injury and death rate in a single fight is over 50%? Please, for the sake of world peace, hurry and raise their intelligence!

### Reading Notes

**Prologue**Characters: He (Protagonist), the man with glassesPlot: Brothers conspire, protagonist diesEnd of a Ruthless Figure*The Son-in-Law Who Marries into the Wife's Family*: Surrounded and hunted by naval, land, and air forcesPassage of Time: Past sincerity, forgotten sincerity, pre-death reflections: Career – the original intention to build parks, to make everyone happy, eventually forgotten; Love – mutual unspoken affection, striving for career, eventually forgotten; Friendship – a friend's funeral, he did not attend.Arrogant, calmly facing deathRuthless Figure (Business)

**Chapter One**Characters: Protagonist, Chan'er (Little Maidservant), Su Tan'er (Protagonist's Wife)Plot: Soul transmigrates to ancient times, as a live-in son-in-lawPhysical Body: Marries into wife's family, live-in son-in-law status, ordinary scholar, weak personality, poor family background, attacked and fell unconsciousChan'er: Adorable, witness to the protagonist's transformation after "waking up": protagonist "loses memory," exercises, friendly to everyone, possesses dignitySu Tan'er: Beautiful, inwardly strong personality, outwardly gentle, handles matters meticulously, intelligent, purposefully fled marriage for ten days to half a month, treats protagonist well, maintains basic etiquette but keeps distanceWorld: Ancient, Wu Dynasty, alternate dimension

**Chapter Two**Characters: Protagonist, Chan'er (Little Maidservant), Elder, Su Tan'er (Protagonist's Wife)Plot: Plays chess with Elder, composes a strange poem, teaches Chan'er how to play GomokuElder: Sells chess games, utterly defeated by protagonist. Note: The phrase "utterly defeated" is merely lightly touched upon.Protagonist's Uniqueness: 1. His chess playing differs from the ancients, not adhering to scholarly etiquette. 2. Composes strange poems.Composing strange poems: Teases readers, adds humor.

**Chapter Three**Characters: Elder, Chan'er, Privileged ScionPlot: Plays chess with ElderElder: Comments protagonist is talented despite lacking formal study, expresses pity for him marrying into the familyChan'er: Defends her mistress, saying she hasn't mistreated the protagonistProtagonist: Jokes, "If those words spread in the Su family, I'd be the one to suffer."Chan'er: Feels wronged, cries, states she isn't one to gossip. Protagonist laughs, responds with action.Privileged Scion: Astonished by protagonist's calm demeanorComment: Chan'er is adorable

**Chapter Four**Protagonist's Calm Demeanor (Effects):Su Tan'er's favorability increasesPrivileged Scion is frustratedProtagonist is primary, Su Tan'er secondary, portraying bothNote: Observe how the author arranges the privileged scion's provocation, and his words and actions

**Chapter Five**Characters: Protagonist, WomanEchoes the protagonist's "past life" experiences and pre-death declarations, establishing his position, with no ambition for fame or achievement.Hen jumps into river, woman follows, amusing narration. Protagonist saves her but is misunderstood, calmly leaves.

**Chapter Six**Characters: Protagonist, Yun Niang, Elder QinThree noteworthy points:Elder Qin has a wife and a concubine, and all three coexist harmoniously. Banana's intention is clear to all, and readers secretly delight.Introduction to the poetry gatheringIs the protagonist talented or not? Elder Qin is puzzled and regretful, wondering why he married into the family, lamenting the pity of it.

**Chapter Seven**Characters: Protagonist, Su Chonghua (Head of the Academy), Elder Qin, Elder KangPlot: Protagonist teaches at the academy, narrates *Romance of the Three Kingdoms*, students are interestedDeliberate emphasis: The Head of the Academy does not make things difficult for the protagonist because of his live-in son-in-law status. The reason? A seasoned person has no need to do such trivial things.Event 2: Elder Kang's interaction with the protagonist. Elder Kang's character design: active, contrasting with Elder Qin's quiet nature.

**Chapter Eight**The woman chasing the hen appears again, still chasing a hen, still accidentally falling into the water, still saved by the protagonist. The woman apologizes for the slap.Protagonist's uniqueness: Killing the hen.

**Chapter Nine**Characters: Seventh Girl, Su Tan'er, Su Yunfang, Elder PatriarchPlot: Everyone's opinion on the protagonist's "unconventional" classroom activitiesSeventh Girl: Indirectly shows the protagonist's uniqueness, an inciting element.Su Yunfang: Represents a traditional perspectiveSu Tan'er: Traditional yet has expectationsElder Patriarch: Open-minded, pragmatic, shrewd and experienced

**Chapter Ten**Characters: Chan'er, ProtagonistPlot: First part: the bustling world, gaining both fame and fortune. Second part: master and servant guarding an empty room, singing poetry for their own amusement. Afterward, the master sleeps, and the servant attends a poetry gathering.Note: The unfolding of satisfying elements, from self-amusement to the prelude of fame.

**Chapter Eleven**Characters: Su Tan'er, Madam Wu's family, Chan'er, Xue Jin, Puyang Yu, QilanPlot: First part: the bustling world, Puyang Garden poetry gathering. Second part: Xue Jin's provocation and Chan'er defending her master.Su Tan'er: Not poetically talented, but loves poetry.Xue Jin: Caustic, secretly demeans the protagonist.Chan'er: Defends her master, bringing forth the protagonist's "casual composition."Embellishments: Madam Wu's family, Qilan, Puyang Yu.

**Chapter Twelve**Characters: Cao Guan (Zhihui Poetry Society), Li Pin (Lichuan Poetry Society), Elder Qin, Elder Kang, Protagonist.Plot: Cao Guan and Li Pin serve as foils to the protagonist, Elders Qin and Kang comment, "Water Melody" poem.

**Chapter Thirteen**Characters: Yuan Jin'er (Jinfeng Pavilion), Lu Caicai (Yinchun Pavilion), Elder Kang, Yu Zixing.Plot: Entry through Yuan Jin'er, Lu Caicai accompanying, public questioning, Elder Kang's furious rebuke.Note: Two scholars, two courtesans, two gatherings, two poems, contrasting with the protagonist, the chicken-killing woman, and Puyang Garden poetry gathering. Of the three poetry gatherings, Puyang Garden is the lowest-ranked. The protagonist's name doesn't even enter Puyang Garden, yet he garners discussion among the Zhihui Poetry Society members. This is an "inverse-inverse-normal" format. Public discussion, Zixing's questioning, Elder Kang's furious rebuke—another "inverse-inverse-normal" format.

**Chapter Fourteen**Characters: Elder Kang, Elder Qin, Cao Guan, Yu Zixing, Su Tan'er, Chan'er.Plot: Elder Kang's furious rebuke, everyone's realization, protagonist's poem affirmed, Xue Jin makes a fool of himself, Su Tan'er initially shocked, then doubtful, finally calm.Note: Originally, there is no single best prose, and poetry evaluation has no fixed standard. Beyond a certain level, public opinion plays a significant role. Although "Water Melody" is indeed excellent, it's impossible for it to truly make everyone else "far inferior" or "render all other lyrics obsolete." Understanding this makes the satisfying element even stronger.

**Chapter Fifteen**Characters: Protagonist.Plot: Chan'er's inner thoughts, protagonist's delayed awareness of his fame, Su Tan'er's unusual gaze.Note: Restraint in satisfying elements, limited circulation of the poem.

**Chapter Sixteen**Characters: Nie Yunzhu, Yuan Jin'er, Protagonist.Plot: Widespread discussion – why he married into the family, whether he's talented or not, facts unclear. This ambiguity is a satisfying element. Mostly negative comments, to restrain the satisfying element. Nie Yunzhu's contrast and parallelism with Yuan Jin'er. At the end of the chapter, Nie Yunzhu again witnesses the protagonist's uniqueness.

**Chapter Seventeen**Plot: Protagonist buys charcoal, accompanied by a beauty.Note: Nie Yunzhu meets the person before his fame, breaking the situation of seeking cheap fame. The protagonist's poetry is "virtual" (borrowed), his calligraphy is "real." The virtual and real conceal each other; if part is true, then all seems true.

**Chapter Eighteen**Characters: Protagonist, Elder Qin, Elder Kang.Plot: Writes poem on a sand tray with charcoal sticks, the two elders' skepticism and appreciation.Note: Poem deliberately written askew, ambiguity of talent or lack thereof.

**Chapter Nineteen**Characters: Protagonist, Elder Qin, Elder Kang.Special character: Qin Hui.

**Chapter Twenty**Characters: Protagonist, Elder Qin, Elder Kang, Su Tan'er, Chan'er.Plot: "Unfathomable" route.Special: The two elders observe, Chan'er is flustered, Su Tan'er chuckles.

**Chapter Twenty-One**Characters: Protagonist, Su Tan'er, Nie Yunzhu.Protagonist's Calmness: Ignores gossip, he is himself. Casually handles the group of provocateurs, naturally greets Nie Yunzhu. First mention of his interest in martial arts.

**Chapter Twenty-Two**Characters: Protagonist, Nie Yunzhu.Plot: A strange person in the eyes of a strange person, two strange people. Protagonist runs, beauty kills chicken.

**Chapter Twenty-Three**Characters: Protagonist, Su Tan'er, He Jun, He Tingguang.Plot: Su Tan'er's competence and propriety, patiently dealing with incompetent relatives. He Tingguang, He Jun's useless son. The protagonist's instinctive casual remark, He Tingguang's contemplation.Note: Protagonist's influence on those around him. *Journey to the West*, *Romance of the Three Kingdoms*, Gomoku.

**Chapter Twenty-Four**Characters: Song Mao, Su Tan'er, Su Danhong (Su Tan'er's cousin).Song Mao: Prefect, cousin of Su Zhongkan's deceased wife, one of the Su family's strongest supporters.Note: Su Danhong is used to introduce the spread of "Water Melody" and Su Tan'er's inner thoughts.

**Chapter Twenty-Five**Characters: Xi Junyu, Shopkeeper Luo, Su Tan'er.Plot: Protagonist's casual remark creates a business opportunity. The conversation between Xi Junyu, Shopkeeper Luo, and Su Tan'er reinforces the protagonist's hidden depths and the "unfathomable" route. At the end of the chapter, it hints at the success of the protagonist's new teaching method.

**Chapter Twenty-Six**Characters: Little Heiz, Song Mao, Elder Su.Plot: A famous teacher produces accomplished disciples, and these accomplished disciples lead renowned scholars to praise the teacher. At the end of the chapter, Nie Yunzhu's small stall.

**Chapter Twenty-Seven**Plot: Nie Yunzhu's interaction with the protagonist.Note: Protagonist's uniqueness, helping push the cart. Prelude to the protagonist composing a song and the beauty setting it to music.

**Chapter Twenty-Eight***The Son-in-Law Who Marries into the Wife's Family*, Song Mao, Su Wenxing, Xi Junyu, Su Wenji.Plot: Nie Yunzhu's interaction with the protagonist; the former sings "Garan Rain," the latter makes snacks. Su Wenxing's conversation with Song Mao; Song Mao enlightens Su Wenxing, who is shrewd and experienced. Su Wenji tries to win over Xi Junyu.Note: In the same chapter, two, two, two: warmth and leisure, slander and scheming, winning over with promises.

**Chapter Twenty-Nine***The Son-in-Law Who Marries into the Wife's Family*, Xi Junyu, Su Wenji.Plot: Nie Yunzhu's confusion, Xi Junyu's extraordinary nature, Su Wenji's limitations but not complete incompetence.Note: Protagonist's unintentional "hints."

**Chapter Thirty**Characters: Song Mao, Elder Qin.Plot: Reveals Song Mao's thoughts and Elder Qin's identity.Note: Song Mao is used to introduce Elder Qin's background, and Elder Qin's background is used to highlight the protagonist's extraordinary nature.

**Chapter Thirty-One**Characters: Su Wenxing and other incompetent characters, Protagonist, Chan'er.Plot: The schemes of Su Wenxing and other incompetent characters. At the end of the chapter, the protagonist's "delayed realization," Chan'er recounts how the protagonist settled the He family's business with a single remark.

**Chapter Thirty-Two**Characters: Song Mao, Su Wenxing, Protagonist, Su Tan'er.Plot: Su Wenxing's expectations are dashed, Song Mao's thoughts. At the end of the chapter, the beginning of the protagonist's conversation with Su Tan'er.

**Chapter Thirty-Three**Characters: Protagonist, Su Tan'er, Song Mao, Su Wenxing.Note: Role reversal. Su Tan'er converses with the protagonist, and they exchange their inner thoughts. While advising Su Wenxing, Song Mao adds a warning: "Lest you bring shame upon yourself." This action represents the pinnacle of satisfying moments.