At the End of Snow Line

Composed during the time where most of the world is fighting the COVID-19 virus, Clock of Timelessness expresses my concern towards our existence. 

 

Human beings have a long history of living with different kinds of viruses. The virus is like a signal reminding us how weak and fragile we can be. On one hand, this kind of reminder evokes the preciousness of life. On the other hand, it also awakens the evils of mankind. Politicians use the word “virus” as a tool to forge hatred; many others adopt it as a reason for discrimination. A virus is like a mirror, and through the mirror, it is the imperfection of humanity that reflects.

 

On the front door of the time-honoured Zhengyici Peking Opera Theatre (正乙祠戲院), there is a couplet:

 

演悲歡離合，當代豈無前代事。

A story may be happy or bitter, but all its scenes have already been written.

觀抑揚褒貶，座中常有劇中人。

Criticism may be meaningful or banal, but all who criticize have once been criticized.

 

Time flies; younger generations walk up to the stage and the old is replaced. And yet, the same plays are being staged, and the same kinds of acclamations and outcries are being received. Technological progress creates an illusion of evolution. Ideologically, there is no evolution. Our minds always live in a clock of timelessness.