Lao She's personal information and his writings

A modern and contemporary writer. Original name Shu Qingchun, the word Sheyu, and other pen names such as Shu Qing, Honglai, non-me. He was born in Beijing to a poor family. Born in a poor family. His father was a military guard of the Imperial City, and was killed in 1900 in a street battle against the invasion of the Eight-Power Allied Forces. From then on, the family relied on his mother's meager income from sewing and washing clothes and working as a handyman. Lao She spent his difficult childhood and teenage years in the Daxia. The daily life in the Dagong Yard made him familiar with the urban poor who struggled at the bottom of the society, such as cart drivers, handicraft workers, hawkers, inferior artists and prostitutes, and he was well acquainted with their joys and sorrows from his childhood. The artistic cultivation in the big miscellaneous courtyard made him love the traditional arts (such as opera and drama) circulating in the alleys of the city since childhood, and he was fascinated by their charms. In the eyes of the young people at the bottom of the social stratum, there were flaws and ugliness everywhere, and it was difficult to get along with them peacefully. When the "May Fourth" call for democracy, science, and individual liberation awakened him from his life's creed of "conscientiously running an elementary school, respectfully and obediently serving one's mother, getting married and having children in a disciplined manner, and so on," (What the May Fourth Gave Me), he made a new choice. There, he wrote his first new literary work, Little Bell Child. Prior to this, 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. At the same time, he taught part-time at the First Middle School and studied English at Yanjing University in his spare time. At one point, 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 the one he had already attained, and in 1924 he went to England to become a lecturer in Chinese at Oriental College, University of London, where he read a large number of English works and engaged in the writing of novels. Both life and books opened up to him a wider and more colorful world than he had ever seen before. 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, he 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 literary career that was worth dedicating himself to.

Lao She lived in England for 5 years, and returned to China in the summer of 1929 by way of France, Germany and Italy. On the way back to China in the summer of 1929, because of the financing of travel expenses, in Singapore, an overseas Chinese high school teaching for half a year. When he was in England, 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. He therefore interrupted the writing of a novel depicting the love between young men and women, and wrote a middle-grade fairy tale reflecting the awakening of the oppressed nation, Little Poe's Birthday (1930).After returning to China in 1930, he became a professor at Qilu University in Jinan and Shandong University in Qingdao. After the outbreak of the Anti-Japanese War, he traveled south to Hankou and Chongqing. In the summer of the following year, he married Hu □ Qing, who later became a national painter. 1938, when the All-China Literary and Artistic Association Against the Enemy was founded, he was elected as a director and head of the General Affairs Department, presiding over the daily work of the Association. In his creative work, he wrote various forms of literary works on the theme of resistance and national salvation.

In 1946, he was invited to the United States to give lectures for one year, and after the expiration of the period, he resided in the United States to engage in creative work. Soon after the founding of the People's Republic of China, he was called back to China, where he served as vice-chairman of the China Federation of Literature, vice-chairman of the Chinese Writers' Association, and vice-chairman of the China Folk Literature and Art Research Association. He participated in political, social, cultural and foreign friendly exchanges and paid attention to the training and counseling of young literary workers, and was awarded the title of "People's Artist" for his excellent play "Longsugou". He was awarded the title of "People's Artist" for his excellent play "Longshougou". He was persecuted and died at the beginning of the Cultural Revolution.

Lao She wrote about 8 million words in his lifetime. His major works include: the novels "Philosophy of Lao Zhang", "Zhao Ziyi", "Two Horses", "Cat City", "Divorce", "Niu Tianci", "Dr. Wen", "Camel Look", "Cremation", "The Fourth Generation of the Same House", "Drum Book Artist", "Under the Red Flag" (unfinished), the middle grade novels "Crescent Moon", "My Whole Life", the short story collection "Catch up with the set", "Sakurai Sea", "Clams and Seaweed Collection", "Train Collection", "Anemia Collection", "The Train Collection", "The Anemia Collection" and "The Clams and Seaweed Collection", The Train Collection, The Anemia Collection, the plays Longshougou and The Teahouse, as well as The Complete Works of Lao She's Plays, The Collected Prose of Lao She, The Selected Poems of Lao She, The Collected Literary Criticisms of Lao She and The Collected Writings of Lao She, and so on. Lao She is famous for his long novels and plays. Most of his works were drawn from the lives of citizens, opening up an important field of subjects for modern Chinese literature. His depictions of natural scenery, world conditions, customs and fashions, as well as his use of the spoken language of the masses, all show a strong "Beijing flavor". His excellent novels "The Look of the Camel" and "The Four Together" are representative of his depiction of the life of the people of Beijing. His short stories are exquisitely conceived, with a wide range of materials, among which "The Liu Family Residence", "The Appointment", and "The Broken Soul Gun" have their own distinctive features, which make them hard to chew on. His works have been translated into more than 20 languages, and have won a large number of readers because of their unique style of humor and rich national colors, as well as the elegance and vulgarity from content to form.

The Sino-Japanese War swept Lao She into the maelstrom of the times, and in October 1937 he returned to teaching at Qilu University, and on the eve of the fall of Jinan, went to Wuhan, where the All-China Literary and Artistic Association Against the Enemy (ACALAE) was founded in March 1938, and he was elected to be the director of the association and head of its General Affairs Department, in charge of its day-to-day affairs, and the de facto head of the group. In June, 1939, he participated in the North Road Comfort Mission of the National Comfort Association to comfort 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 movements were somewhat separated and misunderstood, but at this time, through contact and **** with the work, improved understanding, his political attitude was obviously radicalized. In 1944, Mao Dun once pointed out, "Without Mr. Lao She's hard work, I am afraid that this great event - the great unity of literary artists against the war - could not be accomplished so smoothly and quickly, and I am afraid that it could not be sustained 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 exclude the sabotage and interference of the Kuomintang's hardcore faction, and to safeguard the rightful 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 has brought about profound changes in Lao She's thinking and actions.

The above changes are also clearly reflected in his creative work. As soon as the war broke out, he immediately gave up the two long novels, which had already written tens of thousands of words, and became the most enthusiastic advocate and practitioner of popular literature and art. 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 included 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 these efforts prepared him well for the plays of the 1950s, and in early 1944, Lao She began to write a long novel, The House of Four Together. The book is divided into three parts: "Confusion", "Stealing Life", and "Famine", and consists of a million words, describing the suffering and struggle of people from all walks of life 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 thought-provoking images.

After the victory in the war 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 House of the Four Worlds", created another long story "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 when I suddenly saw the snow and ice, and the yellow land on the riverbanks, I couldn't keep my tears from turning 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 time, 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 in a short period of time, to write such an excellent work of praise for the new China, its success caused universal admiration, Lao She was therefore awarded 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 President of the China Federation of Literary and Art Circles, Vice President and Secretary of the Secretariat of the Chinese Writers' Association, Vice President of the China Folk Literature and Art Research Society (Vice President), Director of the Chinese Theatre Association and the Chinese Opera Workers' Association, and President of the Beijing Municipal Federation of Literature and Culture, as well as the work of minority literature and attention to young literary workers. 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 North Korea, the USSR, India, Czechoslovakia, Japan and other countries successively. 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, always wanting to ask my pen to catch up with the rushing current in front of me" (Ten Years of Brush and Ink), he tried to understand and experience the new life, and reflected it in his works. Naturally, not every attempt was successful. Novels such as The Nameless 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 the realities of life. The well-written ones 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 malpractice 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 attempts of Lao She, who is known for his humor and satire, are particularly noteworthy.

In his later works, the most successful are the play "Teahouse" (1957) and the novel "Under the Red Flag" (1961-1962, unfinished). The former to a teahouse in Beijing as the stage, the use of "a large teahouse is a small society", unfolding the end of the Qing dynasty after the failure of the Hundred Days' Reform, the early years of the Republic of China, the period of the Northern Warlords and the collapse of the Kuomintang government of the eve of the three different eras of the life of the scene and historical trends, 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, showing once again a humorous style, with playful jokes and curses that can be chewed on, suggesting 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-30s was the first peak of Lao She's creative work, and the 50s and 60s were the second peak, with a large number of works, and new advances in both thought and art. Lao She is one of the prominent ones. However, his death on August 24, 1966, at the beginning of the "Cultural Revolution" was particularly regrettable.

Literary performanceLao She was first known for his long novels. When he began to write, few of the 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 include 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 has achieved great success in many fields.

In addition to 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 war agitation, he interrupted the novel, 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 (popular)" ("three years of writing since the narrative"). Subsequently, he turned to the creation of plays out of the consideration that "the resistance war needs theater and theater must be the resistance war" ("Development and Difficulties of Resistance Drama"). 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 old China to a glorifier of 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 of Longshugou"). He answered the brand-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 Longshugou").

The strong sense of social responsibility and the spirit of artistic innovation have made him tirelessly involved in various fields of literary creation, and also made him never satisfied with any achievements he has made, and he has been able to make important progress and breakthroughs in 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 Wrote "Zhao Ziyi"). From the very beginning, his works have a distinctive tone of humor and irony. He is one of the few humorous writers in the history of modern literature, and at one time he was also known as "Master of Humor" and "Laughing Man". 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, but not to kill everyone" (How I Wrote "Old 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, as he experienced more about the disaster of the country and the harshness of life, Lao She's tone became angry and serious, and humor was no longer the keynote of most of his works, and what was praised was no longer all humorous works. However, in the vast majority of his works, witty and playful language still appeared frequently, and he blended laughter and anger together with his writing, which made people laugh or cry, and sometimes it 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 a special contribution made by Lao She in the history of modern literature.

Another characteristic of Lao She's works is that they show a clear anti-imperialist and patriotic theme. Anti-imperialism and anti-feudalism have been the basic theme of new literature since the May Fourth Movement. However, except for specific periods (such as during the May 30th Movement, after the September 18th Incident, and during the War of Resistance Against Japan), there are not many anti-imperialist themes and contents in the creations of general writers. Lao She's works are often obvious. His first work, Little Bell Child, expressed the national consciousness of resisting foreign invaders through the childish actions of an elementary school student. From Lao She's earliest works, Mao Dun y felt "the love and ardent hope for the motherland" ("Mr. Lao She, Twenty Years of Glorious Work"). After that, Lao She wrote a lot of works directly exposing the crimes of imperialist aggression, as well as works describing from different sides the harm done to the Chinese people by their economic, cultural and religious penetration and racial discrimination. He expressed the awakening of the nation and honored the spirit of the nation, and at the same time attacked the foreign slaves who groveled before these invasions and infiltrations and served as accomplices to the tigers. The play The Fist of God (also known as The Boxers), written in the early 1960s, recreates the heroic scenes of the residents of Beijing who fought against the Allied Forces of the Eight-Power Allied Forces. Later works strongly express the joy and pride of the Chinese people in being masters of their own country and standing on their own feet in the world. The love for the socialist motherland added new content and luster to his patriotism, reaching new heights of thought. Strong sense of national self-esteem and burning patriotism is Lao She's noble character, but also a valuable spiritual heritage in his works.

"May 4" after the new literary writers, abandoned the feudal scholar's pen language, and did not use the modern vernacular in the novels and operas, but from the modern spoken language to create a modern vernacular to facilitate the reflection of modern life, to express the psychological activities of the modern people, as a new literary language - Lao She has made an excellent achievement. Lao She made outstanding achievements in this regard. Being a native of Beijing, he was able to speak standard Mandarin; more importantly, he endeavored to draw and refine literary language from the oral language of the people. Paying attention to the extraction, he avoided the problems of raw fabrication and overly Europeanized student's accent; paying attention to the refinement, he was able to detach himself from the rough natural form and overcome the weakness of copying and abusing the dialect and vernacular. What he used was a truly artistic and living language. Lao She's novels and essays can be catchy, and the dialogues of dramas are even more lively and evocative; the language of many characters in his works has their own character traits. He solved the problem of language disconnection well. In terms of the accuracy and vividness of language, expressiveness and artistry, and in terms of creating a new literary language, he is very prominent among modern writers. Lao She believed that a writer's style is firstly reflected in his language, and his language did become an important means of expressing his artistic style. Even the language of his theoretical articles is very much characterized by individuality. His contribution in this respect also goes beyond the scope of literary creation. As early as the 1930s, it was advocated that his works should be used as "a textbook for the propagation of a pure Chinese language" ("Lao She's Letter to Zhao Jiabi"), and his writing has been a frequently quoted example in modern Chinese textbooks.

Laoshe's writing, with its influence of Dickens and Conrad in England, is more y connected to traditional Chinese literature and art, mainly popular among the people. This makes his works popular, popularity, strong national color and other characteristics, from the form to the content can be elegant and popular **** appreciation. Therefore, he broke through the narrow circle of new literature circulating only among students and young intellectuals earlier, and became popular among a wide range of readers. Later on, it also vividly depicted the social and psychological conditions of modern China, with distinctive Chinese characteristics. Coupled with the standardized modern Chinese language, it was valued by foreign countries. All these expanded the influence of modern Chinese literature. He drew on the daily life of the little people in the hutongs of Beijing, and skillfully used the "Beijing flavor" full of literary language and other characteristics, by some of the later followers of the example.

Publications and Editions Lao She was a prolific writer, writing more than 1,000 works, with a word count of 7 to 8 million. In addition to the previously mentioned, the main works published during his lifetime include the long novels Dr. Wen (also known as The Chosen, 1936-1937) and Cremation (1943-1944), the short story collections Train Collection (1939) and Anemia Collection (1944), and the dramas Zhang Zizhong (1941), The Problem of Faces (1941), The Earth of Dragons and Snakes (1942), The Return of the Dragon and the Serpent (1942), and The Earth of the Dragon and the Serpent (1942), as well as the plays Zhang Zizhong and The Problem of Faces (1942) and The Problem of Faces (1942), and The Problem of the Earth of Dragon and Snake (1942). (1942), The Return (1942), Who Came to Chongqing First (1942), The Well of the Willow Tree (Qu Opera, 1952), Spring and Autumn (1953), Fifteen Guan (a Peking Opera based on the legend of the Fifteen Guan, 1956), and The Red Compound (1958); and collections of miscellaneous essays and short treatises on literature and art, including the Collected Works of the Fortunate Star (1958), the Collected Works of the Little Flower (1963), and the Collected Works of Exported Works (1963). 1963), and Exit to the World (1964), among others. In addition, from the 1930s to the 1950s, there were a variety of anthologies selected by the writer and compiled by others, mainly containing short and middle stories and plays. His translation of George Bernard Shaw's play, The Apple Cart, was included in The Collected Plays of George Bernard Shaw (1956).

Lao She did not publish his works in a collection at any time during his lifetime. In the 30s and 40s, there were a lot of pirated books without the consent of the writer himself, in which there are many errors, or mixed with other people's works. 50s, the first half of the writer of some works (such as "camel Xiangzi", "divorce"), made changes to the formation of different versions. From the end of the 70's, the work of collecting and organizing Lao She's works attracted general attention, and the Selected Poems of Lao She (1980), Extra Collections of Lao She's Novels (1982), Lao She's on Creation (1980), Lao She's on Drama (1981), Selected Songs of Lao She (1982), and Collected Commentaries of Lao She's Literature and Art (1982), etc., which were collected by the writers, mostly were Most of the collected works are scattered in newspapers and magazines. The People's Literature Publishing House began editing and publishing the Collected Writings of Lao She in 1980, which included the writer's literary writings from 1925 to 1966, categorized according to literary genre and chronological order of writing, and collated according to the first edition or other editions, plus simple notes, which is a more complete and accurate compilation of Lao She's writings so far.

The critical research on Lao She and his works began to appear in the late 20s, and gradually increased in the mid-30s. In the 50s and 60s, every new work by Lao She immediately aroused extensive discussion in the critics' circle. Li Changzhi, Zhu Ziqing, Wang Shuming, Zhao Shaohou, Ye Shengtao, Ba Ren, Changfeng, Xu Jie, Yiquan, Tian Zhongji, Wu Shuyao, Zhou Yang, Jiao Juyin, Guang Weiran, Li Jengu, Meiqian, Zhang Geng, Fengyi, and others, have written reviews. From the late 70's onwards, the press published many reminiscences of Lao She's articles, systematic and comprehensive research is also increasingly carried out, in addition to continue to analyze and evaluate Lao She's representative works, for his path of creativity, artistic style, the status of the history of literature, etc., respectively, have made a comprehensive discussion.

Foreign translation and publication of Lao She's works and research, are more active. Japan's Keiichi Ito, France's Paul Badi, Poland's Zbigniew S?upski, the U.S. Ranbir Waller, etc., have written Lao She research papers or books.

Persecuted at the beginning of the Cultural Revolution, he drowned himself on August 24, 1966 at Taiping Lake in Beijing.