About the author of "Camel Xiangzi"?

Lao She (February 3, 1899~August 24, 1966), formerly known as Shu Qingchun, the word Sheyu (the family name of a split into two), was born on February 3, 1899 in the West City of Beijing, the small sheep circle Hutong (now known as the small Yangjia Hutong), a Manchu urban poor family. He is a famous modern writer, an outstanding master of language, and is known as the "People's Artist". A native of Beijing, his father was a Manchu military protector who died in a street battle during the Eight-Nation Allied Forces' attack on Beijing. The pen name Lao She was first used in the novel Lao Zhang's Philosophy, and his other pen names include She Yu, Jieqing, Jieyu, Fei I, Hong Lai, etc. He was also known as the "People's Artist," and was known as the "People's Artist.

In 1929, Lao She returned to China by way of Singapore. In Singapore, he wrote the middle grade novel "Little Poe's Birthday", which is a children's literature work, depicting the story of Chinese teenagers living in Singapore and the small partners of various oppressed nationalities, opposing the slavery of the powerful, embodying the ideology of unity and struggle, and strengthening the country to save the people.

Lao She taught at Qilu University in Jinan, Shandong Province, and Shandong University in Qingdao from 1930 to 1936. During this time, he saw the wanton aggression of the Japanese imperialists and the traitorous behavior of the Kuomintang reactionaries after the defeat of the First Domestic Revolutionary War, and he wrote a long novel, Daming Lake, to express his indignation for the people of Jinan as well as for all the people of the motherland who suffered from the aggression. In this novel, he depicted for the first time the image of the ****-producers. In the following four years, he wrote the full-length novels Cat City, Divorce, and Biography of Niu Tianci. He also published a collection of short stories, Catching Up, which included 15 short stories, including Black and White Li and Microgods, as well as a collection of humorous poems and essays, Lao She's Collection of Humorous Poems and Essays.In 1936, Lao She resigned from his post to pursue a career in professional writing. The period of working and living in Qingdao was one of the most creative periods of his life. He compiled two collections of short stories, Cherry Sea Collection and Clam Seaweed Collection, which contained 17 short and medium-sized stories. He wrote "The Elect" (later retitled "Dr. Wen"), "All My Life", "The Old Bull and the Broken Cart" and "Camel Xiangzi", a long masterpiece in the history of modern Chinese literature.

"Xiangzi the Camel" takes the whereabouts of Xiangzi, a rickshaw driver in Beiping (present-day Beijing), as a clue, and shows people the picture of the poor citizens of the lower strata of Beijing living in the abyss of misery under the warlords' conflagration and the dark rule. From the story of Xiangzi's attempt to get rid of his miserable life fate through personal struggle, and his final failure to the point of falling, it warns people that it is not possible to rely on personal struggle alone for the poor peasants in the city to turn around and become the masters of their own house.

When the Lugou Bridge Incident broke out in 1937, Lao She left his wife and son and traveled to Wuhan to join the anti-Japanese struggle in the literary world. In 1938, the establishment of the "All-China Literary and Artistic Association against the enemy", Lao She served as the person in charge - the director of the General Affairs Department. After that, and then transferred to Chongqing, the "Cultural Revolution" in the hardship and suffering tenaciously insisted on seven years, until the anti-Japanese war won a complete victory. Lao She with passion and patience and meticulous work, unite all aspects of literary artists, **** with the promotion of the war of resistance to the literary and artistic activities. He also used the pen as a weapon to create various forms of literature and art. The long poem "Jianbei Chapters" was written in the form of a big drum, "Wangjiazhen" and "Loyalty Figure" in the form of a Peking Opera, and "Remnant Fog", "Returning to China" and "Face Matters" in the form of a drama. He published the short story collection Train Collection and Anemia Collection, the long story Cremation, and completed the first two parts of the full-length masterpiece The Four Together, Stealing Life and Trepidation. He also wrote a large number of essays, prose and poetry.

After the victory of the war, in 1946, Lao She and Cao Yu, as the first cultural figures of China's folklore, were invited to visit and lecture in the United States. In the United States, made a number of public speeches, for the enhancement of people across the ocean to understand the Chinese people and Chinese literature, played a positive role. And here he wrote the third part of "The Famine" and another long novel "Drum Book Artist". He also assisted American friends in translating some of his works. The Four Together is the most ambitious work Lao She has ever completed, with about one million words. With a variety of characters in a hutong called "Little Sheep Circle" in Beiping, especially the four generations of the Qi family's grandparents and grandchildren as the center, it unfolds intricate pictures and plots, showing the bitter experience of the people in the fallen areas, and their process of awakening and resolutely resisting the war after their illusions are shattered. It exposes the brutality of the Japanese invaders and the shamelessness of the traitors, and also writes about the kindness, cowardice and bitterness of the intellectuals, as well as the strong and unyielding will and determination of the lower class citizens. Containing Lao She's strong spirit of patriotism, it leaves a great monument for the Chinese nation's national resistance.

In October 1949, Lao She returned to his motherland. In 1951, he wrote Longshugou, a play that glorified the people's government for doing practical things for ordinary citizens. After the play was staged, Lao She was awarded the honorary title of "People's Artist" by the Beijing Municipal Government. After that, he also wrote the opera "Eradicate Bacteria" and "Everybody Judges", and the drama "Birthday" and "Spring and Autumn".

After the founding of the People's Republic of China, Lao She's political enthusiasm was very high, and he successively served as vice president of the China Folk Literature and Art Research Association, chairman of the Beijing Municipal Federation of Literature and Art, a member of the North China Administrative Committee, a member of the presidium of the All-China Federation of Literature and Art, a deputy to the Beijing Municipal People's Congress for the first two sessions, a member of the presidium of the first, second, and third sessions of the National People's Congress, and a member of the standing committee for the third session of the CPPCC. From 1950 to 1955, Lao She created a large number of dramas, Peking Operas and children's plays. Among them, the drama "Teahouse" pushed Lao She's drama art to the peak, and became a bright pearl in China's theater art hall.

From 1961 to 1962, Lao She worked on his autobiographical novel Under the Positive Red Flag. Unfortunately, he was forced to stop writing before it was completed.

Laoshe was viciously attacked and persecuted during the Cultural Revolution, as were many patriotic artists of the older generation, and in 1966, he was forced to sink in Beijing's Taiping Lake at the age of 67.

Life and Writings 2:

The May Fourth Movement broke out the year after Lao She became an elementary school principal. He claimed that he only "saw the May Fourth Movement, but was not inside it,......, and was a bystander to this great movement" ("How I Wrote 'Zhao Ziyao'"). This did make him, for a period of time, somewhat isolated and misunderstood the young students and their activities. However, the new trend of the times that emerged during the May Fourth period, including the literary revolution, still impacted his mind. Originally, the corruption of the grass-roots organizations of the warlord government and the hypocrisy of the defenders in the midst of them were all flaws and ugliness in the eyes of this young man who had just come from the bottom of the social ladder, and it was difficult to get along with them peacefully. When the "May Fourth" call for democracy, science and individual liberation awakened him from the creed of "conscientiously running an elementary school, respectfully and obediently serving his mother, getting married and having children in a disciplined manner, and that's all" ("What the May Fourth"), the young man was not only a young man, but also a young man who had just come from the bottom of the social ladder, and could not get along with them. In September 1922, Lao She resigned from all his posts and went to the middle school department of Nankai School in Tianjin, which was famous for its enlightened neo-cons, as a teacher of Chinese literature, where he wrote his first new literary exercise, "Little Bells". Before that, he also firmly withdrew from his mother's arranged marriage. In the following year, he returned to Beijing and became a clerk in the Beijing Education Association under the chairmanship of Gu Mengyu, while teaching part-time at the First Middle School and listening to English at Yanjing University in his spare time. At one time, he also practiced Christianity. Although his path was not without its twists and turns, the May Fourth Movement pushed him further to break free from feudal and secular ties and to seek a more meaningful life than he had already achieved.

In 1924, Lao She went to England to become a lecturer in Chinese at the Oriental Institute of the University of London. To improve his English, he read a great deal of English works. Both life and books opened up a wider and more colorful world to him than he had previously seen. Reading works further stimulated his interest in literature. The loneliness of living in a foreign country and the growing nostalgia for his homeland also required support and outlet. Several factors intertwined, prompting him to write down the people and things he had seen in literary form. 1926 wrote a long novel, "Old Zhang's Philosophy," based on what he had seen and heard when he was working in the education sector. This was followed by the full-length works Zhao Ziyao (1926) and Erma (1929). The three works were serialized in Novel Monthly, a publication of the Literary Research Society, and immediately attracted the attention of readers with their easy and hearty writing, rich in the local color of Beijing, and good at portraying the life and psychology of the citizens. His creations were characterized by realism from the very beginning, and had a distinct artistic personality from language and tone to content and theme.In 1926, Lao She joined the Literary Research Association. In 1926, Lao She joined the Literary Research Society. He finally found a job and a fulfilling life in the cause of literature that was worth dedicating himself to.

Lao She lived in England for 5 years, and returned to China in the summer of 1929 through France, Germany and Italy. On the way back to China, he taught in a Chinese middle school in Singapore for half a year because he was trying to raise money for his trip. When he was in Britain, he was excited about the march of the Northern Expeditionary War in China. When he arrived in Singapore, he felt the climax of the national liberation movement from the revolutionary enthusiasm of the young students. As a result, he interrupted the writing of a novel depicting the love between young men and women, and wrote another middle-grade fairy tale reflecting the awakening of the oppressed nation, "Poe's Birthday") (1930).

In March 1930, Lao She returned to his homeland. In July of the same year, he went to teach at Qilu University in Jinan. In the summer of the following year, he married Hu □ Qing, who later became a national painter, and in 1934, he became a professor at Shandong University in Qingdao. At these two universities, he taught Introduction to Literature, European Literary Thought, History of Foreign Literature, and courses on writing. After classes, he continued to write long novels. Cat Town (1932) exposes the corruption of old China in the form of a fable, and criticizes the conservative and ignorant habits of the nation and the mentality of lackeys who are afraid of foreigners. At the same time, it reveals a pessimistic view of the country and a misunderstanding of the revolution, making it a flawed and controversial work. Divorce (1933) depicts the mediocre life of a group of civil servants, mocking and ridiculing them, fully demonstrating his characteristics as an exponent and critic of Beijing's civil society and as a writer of humor, and it is a work that represents Lao She's style. The biography of Niu Tianci (1934) and the middle works Yueya'er (1935) and My Life (1937) are both about the life of the common people from the streets and alleys. The former is a mockery of the worldly life and the psychology of the citizens, full of laughs; the latter two are an attack on the injustice of the world, full of resentment and mourning, and the tone of the work also becomes heavy.

Shortly after his return to China, Lao She began to write short stories, most of which were included in Catch the Collection (1934), Cherry Sea Collection (1935), and Clam Seed Collection (1936). In the first few pieces, there was a tendency to "write jokes casually" ("How I Write Short Stories"), some of which were humorous sketches that were almost amusing, but soon there was an increase in the number of serious and socially significant chapters. He wrote humorous poems for The Analects of Confucius, edited by Lin Yutang, of which he was one of the key contributors, and he also published miscellaneous essays in The Declaration of Freedom. Free Talk, where he also published miscellaneous essays. These poems, written in a light and playful style, revealed the writer's concern and anxiety about the fate of the motherland under the Japanese invasion conspiracy, and were partly included in Lao She's Collection of Humorous Poems and Essays (1934). From 1935 onwards, he also wrote essays summarizing his own creative experience, which were later integrated into the book Old Cow and Broken Wagon (1937).In the mid-1930s, Lao She wrote a large number of works in a variety of genres, and his style became more and more mature. These works were published in newspapers and magazines of different tendencies, and he became an active writer in the literary world.

The most important achievement of this period was the long novel Camel Xiangzi, which was serialized from September 1936 in Cosmic Wind. The novel tells the story of a young and energetic rickshaw driver who hopes to change his lowly status through personal struggle. He goes all out and struggles several times, but all he gets are failures and blows. As his illusions are shattered, he loses all his faith and pursuit of life. The writer writes in a grim and realistic way, from his self-esteem and self-confidence to his self-degradation, that is to say, the process of his destruction for life - the unfortunate fate of Xiangzi's individuality is a social tragedy of wide significance. The novel highlights the writer's sincere sympathy and deep understanding of the urban poor, and has become the main masterpiece of Lao She. Camel Xiangzi is one of the best works of China in the 1930s, and an outstanding long novel of modern China; it established Lao She's important position in the history of modern Chinese literature, and after it was translated into English in the 1940s, it won the favor of foreign readers as well.

The Anti-Japanese War swept Lao She into the maelstrom of the times, and in October 1937, Lao She, who had returned to teaching at Qilu University, went to Wuhan on the eve of the fall of Jinan; and in March 1938, when the All-China Literary and Artistic Association Against the Enemy was founded in Wuhan, he was elected director and head of the General Affairs Department, in charge of the association's day-to-day affairs, and became the main person in charge of the group in practice. In June, 1939, he joined the North Road Sympathy Mission of the National Sympathy Association to sympathize with the soldiers and civilians in the war. In the past six months, he traveled more than 20,000 miles, passing through Sichuan, Hubei, Henan, Shaanxi, Ningxia, Qingdao, Gansu and Sui provinces, including Yan'an and the anti-Japanese democratic base areas of Shaanxi, Gansu and Ningxia. All these have broadened his horizons and enriched his life. In the past, due to the revolutionary forces and revolutionary movement, there were some misunderstandings, but through the contact and **** with the work, improved understanding, his political attitude obviously radicalized. 1944, Mao Dun once pointed out: "If there is no Mr. Lao She's hard work, this big thing - the anti-war artists' unity, I am afraid that it can not be completed so smoothly and quickly. would not have been accomplished so smoothly and quickly, and I am afraid that it would not have been possible to sustain it to this day with difficulty and hardship." ("Mr. Lao She, who worked gloriously for twenty years") In order to carry out the anti-Japanese united front policy put forward by the Chinese ****productivity party in the literary and art circles, to remove the sabotage and interference of the Kuomintang's hardcore faction, and to safeguard the legitimate rights and interests of the writers, he did a lot of work. In the later stage of the war, he joined the growing democratic movement. 1944 April, Chongqing and other people from all walks of life held the 20th anniversary of the creative life of Lao She commemorative activities, from different aspects of his high evaluation. Lao She was no longer a writer who simply buried his head in his hands to write, he became an organizer and social activist in the literary world, and a fighter against the Japanese and for democracy. The war brought about a profound change in Lao She's thinking and actions.

The above changes were also distinctly reflected in his creative work. As soon as the war broke out, he immediately gave up the two long novels he had already written tens of thousands of words, and became the most enthusiastic advocate and practitioner of popular literature. He had been in Jinan, Wuhan, Chongqing and other places, discussing the issue of writing anti-war drum lyrics with artists who sang operatic songs, and he himself wrote a lot of popular works publicizing the anti-war by using all kinds of old forms, including Peking Opera, drum lyrics, comic dialogues, counting and pendant, etc., for the performances of the artists. Some of these works were published in Three Four One (1938). In the midst of discussions about "national forms" in the literary world, he wrote a long poem, Jianbei (1940-1942, unfinished), which is a blend of the old and the new ("How I Wrote the Jianbei Chapter"). Subsequently, he began to write plays, either individually or in cooperation with others, and wrote more than ten plays in a row, such as The Remnant Fog (1939) and The Country Comes First (1940): some of them called for national unity, some glorified patriotic generals, and some exposed the moldy degradation of the "Great Rear", and the war and the salvation of the country were the same theme of these works. He later summarized: "I don't understand the tricks of the stage, so I can't play those theatrical tricks", "I always tell it in the way of a novel" (Gossiping about My Seven Plays), and there are indeed obvious weaknesses in the art of drama in these plays. But through these efforts, he was well prepared for his plays in the 1950s.In early 1944, Lao She began work on his full-length novel, The House of Four Together. The book is divided into three parts: "Trepidation", "Stealing Life", and "Famine", **** million words, depicting the suffering and struggle of all classes of people after the fall of Beiping. Lao She was familiar with the old capital but lacked the experience of this life. His wife, Hu □ Qing, who had just come to Chongqing from Beiping, provided him with a great deal of material on the sufferings and struggles of the people in his hometown under the enemy's rule, which to a certain extent made up for this deficiency. Although the threads of the anti-Japanese struggle in the book are still a bit thin and vague, the intense oil paint on the faces of this ancient city at the moment of the nation's survival, the detailed portrayal of the inner conflicts and the resulting awakening of the lower and middle-class residents who were y bound by traditional concepts, and the scourge and anticipation of them, add a lot of colorfulness and intellectual depth to his many depictions of the people of Beijing.

In his many depictions of the people of Beijing, he has added many colorful and thoughtful images.

After the victory in the war of resistance against Japan, in March 1946, at the invitation of the U.S. Department of State, Lao She went to the United States to give lectures. After the expiration of one year, he continued to live in the U.S., wrote "The Four Together", created another long "Drum Book Artist", and assisted others to translate these two novels into English. Drum Book Artists" narrates the story of old-fashioned artists pursuing a new life amidst the storm of the war of resistance, and the real image of revolutionaries emerges, calling for the arrival of a new China. on October 1, 1949, the Chinese People's Republic of China was founded. on the 13th, Laoshe departed for his home country, passing through Japan, the Philippines and other places, and arriving in Tianjin on December 9." It has been fourteen years since I left North China, and suddenly seeing the snow and ice, and the yellow land on the riverbank, I can't help but have tears in my eyes" ("From San Francisco to Tianjin"). The writer, born in Beijing and always known for his depictions of the city, had not resettled in his beloved hometown until this point, after leaving home in 1924.

The new China's thriving weather immediately aroused Lao She's new creative passion, and in January 1950, less than a month after his return to China, he published his first work in praise of the new China, a big drum book called "New Year". Once again, with great enthusiasm, he engaged in the reform of traditional arts, including the reformation of old-style artists. The play Fang Zhu Zhu (1950) was based on the experiences of artists before and after the liberation, and the first half of the play was somewhat similar in content to Drum Book Artists. A year later, the play Longshugou was staged, causing a strong reaction from the literary and social circles. The play was based on the real-life story of the people's government's efforts to improve the living conditions of the slums in the early years of liberation, when the city was still in the process of being rebuilt and the people's government made great efforts to improve the living conditions. Combining his familiarity with and love for Beijing and the urban poor with his excitement and joy for their new life, Lao She writes about the profound changes that are taking place in ancient Beijing and the urban poor who have suffered so much. This is an ode to the new Beijing and the new China. An old writer from old China was able to write such an excellent work of praise for the new China in a short period of time, and its success aroused universal admiration, for which Lao She was honored with the title of "People's Artist".

From the early 1950s, Lao She successively served as a member of the Cultural and Educational Committee of the State Council, a member of the Beijing Municipal People's Committee, vice-chairman of the China Federation of Literary and Art Circles, vice-chairman of the Chinese Writers' Association and secretary of the Secretariat, vice-chairman of the China Folk Literature and Art Research Association (vice-chairman), a director of the Chinese Dramatists Association and the Chinese Opera Workers' Association and chairman of the Beijing Municipal Federation of Literary and Art Circles. He was also in charge of minority literature and paid attention to the training and counseling of young literary workers. He was elected as a delegate to the National People's Congress and a member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference on several occasions, and he visited countries such as North Korea, the USSR, India, Czechoslovakia, Japan, and so on. He spent more time and energy on political, social, cultural and foreign friendly exchanges than he did during the war period; he also wrote more diligently, and constantly produced new works. As he said, "I watched the society and always wanted my pen to catch up with the running current in front of me" (Ten Years of Pen and Ink), and he endeavored to understand and experience the new life and reflected it in his works. Naturally, not every attempt was successful. Novels such as The Unknown Heights Have a Name (1954), which depicted the combat performance of the Chinese People's Volunteers, and the play Young Commandos (1955), which glorified the labor competition of construction workers, lacked artistic power due to the lack of a sense of reality in life. The well-written works are those that express the sorrows and joys of Beijing citizens' lives, such as the dramas Shopgirl (1958) and All in the Family (1959). They can all be seen as sequels to Longshougou: depicting the old Beijing and how the suffering, old-fashioned citizens move on to a new life. The writer is familiar with these characters and their changes, and with tears and laughter, he writes about the leap forward in history through the contrast between before and after the liberation, making people realize a little bit of the true meaning of life in the midst of laughter. The play "Looking West at Chang'an" (1956) is based on the case of Li Wanming, which shook the whole country. Li Wanming's ability to cheat everywhere exposed the serious bureaucracy and unethical practices of some cadres, which the play exposed and ridiculed. How to write a good satirical work in the new society is a subject of much discussion and little practice. The attempt of Lao She, who is known for his humor and satire, is particularly noteworthy.

The most successful of his later works were the play "Teahouse" (1957) and the novel "Under the Red Flag" (1961-1962, unfinished). The former takes a teahouse in Beijing as a stage, utilizing the characteristic of "a big teahouse is a small society", and unfolds the life scenes and historical trends of three different eras after the failure of the Hundred Days' Reform in the late Qing Dynasty, the period of entrenchment of the Northern Warlords in the early years of the Republic of China, and the eve of the collapse of the Nationalist Party government, before and after the first half of the century. There are more than 60 characters in the play, there is no central story line in the whole play, and there is a lack of plot connection between each act, but it can be tightly structured and accomplished in one go, recreating sharp conflicts and rich social life, and revealing the truth that one must look for another way out through the declining of the old China and the end of the road. The latter with the nature of autobiography, but wrote the Qing Empire is about to fall when the colorful social landscape, especially as a special pillar of the Qing dynasty rule of the flag society in the great turmoil of the division and decline. Both works give full play to Lao She's specialty as a painter of Beijing's customs. Under the Red Flag" is a playful and funny work, again displaying a style of humor that is chewable and suggests that his humor has become deeper and more subtle. Although they are depicted in old China, "Teahouse" also has a strong tragic meaning, but they are jumping with the pulse of the times, showing the power of the people and the trend of history, with an inherent spirit of historical optimism. This marks an important development in the writer's thinking and realist creative method. The Teahouse is one of the best plays on the contemporary Chinese drama stage, and when it was performed in some Western European countries, it was hailed as "a miracle on the Eastern stage". (See color photo of Lao She's play "Teahouse" (performed by the Beijing People's Art Theater).

The mid-1930s was the first peak of Lao She's creative work, and the 1950s and 1960s was the second peak, with numerous works and new advances in thought and art.

Lao She is one of the most prominent writers who began writing in the 1920s and 1930s, and who continued to maintain his artistic creativity in the 1950s and 1960s and continued to achieve new results. However, on August 24, 1966, he died at the beginning of the "Cultural Revolution", particularly regrettable.

Literary Achievements Lao She was first known for his long novels. When he began writing, few new writers were writing long stories, and he was one of the earliest authors of the modern Chinese novel, contributing to the development of the genre. Later, he became known for his plays, which were numerous, and he became one of the most important playwrights of the 1950s and 1960s. His short stories are few in number, but there is no lack of colorful and meaningful works of excellence, such as The Broken Soul Gun, The Appointment, and The Liu Family's Compound, all of which are written in their own distinctive ways. His short works are often better than his long works in terms of the delicacy of artistic conception and the breadth of subject matter. He wrote a number of amusing and witty prose sketches, as well as some poems and songs in old and new styles. Lao She's novels, including long, medium, short and novels, as well as fairy tales and fables. In addition to plays, he also wrote children's plays, fairy tale plays, operas, and mixed plays with songs and dances. Unlike most of the writers after the May Fourth Movement, he also utilized a variety of traditional forms to write a large number of popular works of different genres, including the transplantation and adaptation of operas between different traditional styles of drama. Lao She is one of the most diverse of modern Chinese writers, and he has achieved great success in many fields.

Besides the writer's diligence and skill in drawing from both traditional Chinese and foreign literature, there are also more profound ideological and artistic reasons. At the outbreak of the war, Lao She was already a famous novelist, in view of the urgent need for the people to understand and love the form of literature and art for the anti-war agitation, he interrupted the novel writing, exploring the use of popular literature and art of transformation, and physically "boldly go to experiment with a variety of genres of literature and art" ("Three Years of Writing"). Subsequently, out of the consideration that "the war needs theater, and theater must be the war" ("Development and Difficulties of War Drama"), he turned to the creation of plays. As soon as the People's Republic of China was founded and he had just returned to China, when he was writing Longshugou, he was well aware of the arduous change from being a critic of the old China to a glorifier of the new China: "In my more than twenty years of writing experience, writing Longshugou was the greatest adventure"; "My gratitude to the government's fervor made me brave enough to take the risk" ("The Writing Process of Longshugou"). He answered the new questions raised by the times with his own creative practice. After his success in drama writing, he still continued to make "new attempts, not completely called the old ways of binding" ("Answer to a few questions about the Teahouse"), to emphasize the time, place, character clues and the plot need to be highly centralized to the traditional rules of the theater to challenge, and wrote a unique, known as the "scroll play" of the "Teahouse". In Lao She, "not only shows the most valuable political passion of an artist, but also shows the real courage of an artist, which is equally valuable" (Zhou Yang, "What to learn from Longshougou?").

Lao's strong sense of social responsibility and spirit of artistic innovation made him tirelessly explore all fields of literary creation, and also made him never satisfied with any achievements he had already made, and was able to make important progress and breakthroughs throughout his more than 40 years of creative career.

When Lao She began to create, he held the attitude of "no matter who or what it is, it should be written in a funny and interesting way," and "the intention should be humorous" (How I Write <Zhao Ziyao>). His works have a distinctive tone of humor and irony from the very beginning. He is one of the few humorous writers in the history of modern literature, and was once also known as the "master of humor" and the "comedian". His early works are interspersed with some purely for the sake of amusement and lack of ideological significance. His character of "I want to laugh and scold without killing anyone" (How I Write <Lao Zhang's Philosophy>) made his satire lack Lu Xun's coldness and sharpness, but more warmth and relaxation, which formed his unique style of humor. From the mid-1930s onwards, with more experience of the national disaster and the harshness of life, Lao She's tone became angry and serious, and humor was no longer the tone of most of his works, and what was praised was no longer all humorous works, but in the vast majority of his works, there is still often a witty and playful language, which will be a mixture of laughter and anger, and the ink will be used to make people laugh or cry, and sometimes it will also Sometimes it also brings tears to one's eyes or makes one think y. In the later works, the writer makes many characters say goodbye to yesterday with a smile. All of these have a kind of intrinsic fun - sublimated humor.

Most of Lao She's works are based on the lives of citizens. He was good at depicting the lives and destinies of the urban poor, and was especially good at portraying the lower and middle classes of the conservative and backward citizens who were steeped in feudal patriarchal concepts, in the midst of national contradictions and class struggles, and under the impact of new historical currents, the ambivalence of fear, hesitation and loneliness, as well as the dilemma of what to do and what to do in the face of the ridiculous behaviors. He likes to reflect the universal social conflicts through daily ordinary scenes, and his strokes often extend to the excavation of the national spirit or the thinking of the national destiny, so that people can savor the severity and heaviness of life from the light and witty. The colorful rendering of natural scenery and the detailed description of customs and people's feelings add to the life atmosphere and interest of the works. In the history of modern literature, Lao She's name is always closely associated with the subjects of citizens and Beijing. He is an outstanding painter of customs and worldly conditions (especially Beijing's customs) in modern Chinese literature. As a great man, the social reality he reflected may not be broad enough, but within the scope of his depiction, he combined and condensed history and reality, from the natural scenery of the four seasons of the year, the social atmosphere and customs of different eras, to the joys, sorrows, happiness and subtle mentality of people of all kinds from the three religions and the nine streams of society, all of them together with sound and colorful and lively, forming a complete and rich, full-fledged, "Beijing-flavored" world of its own. This is Lao She made a special contribution to the history of modern literature.