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天降倾城妃
你从不曾说过你爱我,醒悟之时才知道,原来你已经将我爱入了骨髓,而我却浑然不知。——宸王妃传闻他冷酷无情、少言寡笑、有着洁癖,却唯独对穿越而来的她宠得无法无天。从入王府开始,她就将他视作洪水猛兽,想方设法从他身边逃开,他却一次次不厌其烦地将她抓回去,冷言警告:“记住!安分一点!”****一道圣旨,让她不得不嫁给谁都想嫁,唯独她不想嫁的冷冰冰的宸王。他知道她的心,却从不言明。新婚几月,他就和别人在外出双入对,她立即休书呈上。某男淡定如神:“哦?罪名是什么?”某女叉腰愤怒:“七出之条!”某男扬起一抹邪笑:“哪一条。”某女喷火:“每一条!!”****一次误会,她远走他方,他却发了疯般不顾一切地找她,扬言:即使掘地三尺,也要把他的王妃找出来。当得知她在雪月国时,他竟不顾圣旨,举兵攻向雪月国,准备将夺走他挚爱的人挫骨扬灰。****凤长歌,锦绣江山
【本文已出版】一媚倾国误,一倾江山乱。一顾长相依,一醉凤长歌!**生辰礼夜,敌军破城。那一夜,熊熊大火中,凤氏王朝灰飞湮灭。时光交替,数年后,新帝登基,大赦天下。——三月三,繁华京城,有那么一个少年,踏歌而来。他,出身市井,浪迹江湖,一驴一剑,一身褴褛。他,明眸皓齿,刁钻邪佞,脾气傲娇无常。他,武艺超绝,智计千里,身份错综复杂。他,混入皇宫,藏身羽林,背负国仇家恨。——一场谋乱,他救驾有功,与帝同席,他笑问,“敢留我在君王身边么?”新帝亦笑,遂赐他御前行走,命他侍君左右!狂妄少年,淫秽后宫,当他被押进净身房,判处宫刑——新帝震怒,涉险救他,在太后寝宫外跪求半日,方换得他安隅!他斗太后,除奸臣,上斩皇亲,下恤黎民,他数度临死,却次次逢凶化吉!——他冬夜醉酒,误入青楼,新帝弃六宫,竟寻他而至,与他同榻而眠!他行刺将军,新帝反赐他免死金牌,他却狠杀新帝宠妃,震惊朝野!他男扮女装,魅惑年轻太师,致使帝相不和,朝纲动.乱!他踏遍三关,取东海之水,西山之雪,割发断甲,制奇药救新帝!——乱世割据,峰火硝烟,他英勇出征,金戈铁马,气吞山河,疆场无敌!御外敌,平内乱,他为大秦新帝画出半壁江山,他亦正亦邪,名震九州!他的一生,历经四个男人,从养父到敌国皇帝,从兄弟到敌国权臣——他的一生,从出生起,便被载入史册,通览回顾,可谓传奇!——大楚攻秦,边关城上,他却将寒剑,反手刺进新帝心口!那一日,残阳如血,鸦啼四野。“为什么?”新帝凝着他,不可置信。他笑,“因为我是——凤长歌。”“凤氏江山,由秦取而代之,朕明白了。可是长歌,你爱朕么?可曾爱过?”“爱,所以,我来陪你……”他,弃剑跌落的那一刻,年轻的帝王嘶声高喊,“长歌,朕把江山还给你,朕只要你……”太医仓惶医治,却瞠目大惊!他,竟是女子,竟怀有身孕月余……——经年之后,真相昭然若揭。帝王足迹,遍布漠北,一女子翩然而至,他眸中含泪,颤声问,“长歌,是……你吗?”——江山如画,红颜权爱。醉忘流年仰天笑,谁人梦里长相思?长歌,凤凰于飞——谱一曲乱世传奇,铸一段旷古之恋!推荐楚清其它作品:已出版上市:《鸾凤错:袖手天下》《冷皇戏凤》
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How It Is
Published in French in 1961, and in English in 1964, How It Is is a novel in three parts, written in short paragraphs, which tell (abruptly, cajolingly, bleakly) of a narrator lying in the dark, in the mud, repeating his life as he hears it uttered - or remembered - by another voice. Told from within, from the dark, the story is tirelessly and intimately explicit about the feelings that pervade his world, but fragmentary and vague about all else therein or beyond. Together with Molloy, How It Is counts for many readers as Beckett's greatest accomplishment in the novel form. It is also his most challenging narrative, both stylistically and for the pessimism of its vision, which continues the themes of reduced circumstance, of another life before the present, and the self-appraising search for an essential self, which were inaugurated in the great prose narratives of his earlier trilogy.