The Writing Characteristics of Camelot

Vertical structure with clear-cut vein and rich plot. The novel arranges the plot structure with Xiangzi's activities as the main line. This simple and clear structure facilitates the expression of Xiangzi's "three ups and three downs" struggle and the process of profound changes in his ideology and character, and highlights the theme of the work in a more focused and clearer way. It is through the contact of Xiangzi with the society that the work depicts the life and appearance of different classes and strata and the different destinies of different families, as well as the different character traits of various types of characters, thus touching all corners of the society at that time and truly reflecting the darkness of the old China.

The author is good at expressing the main characters' ideology, character and development through characteristic portraits and delicate psychological portrayal. There are two most prominent portrait depictions of Xiangzi in the work. One is at the beginning of the novel and the other at the end. Xiangzi, who has just come down from the countryside, gives people the impression that he is young, robust, simple and honest, like a growing tree, tigerish and angry. He doesn't smoke, doesn't drink, doesn't gamble; he is decent, strong and hard-working. However, after the heavy blow of "three ups and three downs", Xiangzi became a "thin and dirty" low-class car driver. "His face, body, and clothes are not washed, and his hair is sometimes not shaved for more than a month."" Through the contrasting description of Xiangzi's before and after portraits, the author profoundly expresses the development and change of his thought and character.

The language is simple and natural, vivid and bright, with distinctive local colors and a strong sense of life. The author makes mature use of the processed and refined Beijing colloquialisms to accurately, distinctly and vividly depict the natural landscape of the Beijing area and the customs of the underclass society, overcoming the problems of the past oily tone and establishing a simple and natural language style. For example, the author describes the robustness of Xiangzi's body, using the words "firm and hard" and "quite off" with local color; writing Xiangzi's difficult to Mr. Cao to introduce the situation of Xiaofuzi, said he "choked on half a day to say"; writing Xiangzi's difficult to Mr. Cao to introduce the situation of Xiaofuzi, said he "choked on half a day to say"; writing Xiangzi's body, the author says he "choked on a half a day to say". He also wrote that Xiangzi endured the pain of the disease and played umbrella flags or wreaths for others

Author's biography:

Lao She (February 3, 1899-August 24, 1966) was originally known as Shu Qingchun, and was also known by his pen-names of Jieqing, Honglai, and Feiqi, with the word "Sheyu". Because Lao She was born in the spring of the lunar calendar, his parents named him "Qingchun", probably with the meaning of celebrating the coming of spring and a bright future. After going to school, he changed his name to Shu Sheyu, which means "giving up oneself", i.e. "forgetting oneself". He was a native of the Manchu Red Banner in Beijing. He was a modern Chinese novelist and writer, a master of language, a People's Artist, and the first writer in New China to be honored with the title of "People's Artist". His masterpieces include Camel Xiangzi, The Four Together, and the play The Teahouse.

Laoshe's life, always forgetting to work, he is the literary world deserved the "model worker". 1966, due to the vicious attacks and persecution in the Cultural Revolution movement, Laoshe was forced to unjustly sunk in Taiping Lake, Beijing. The Fourth Generation" was published and listed by Oriental Publishing Center. This is the first time the work has been published in a complete edition since its publication.