Who wrote Notre Dame de Paris, Robinson Crusoe, Resurrection, The Story of the Fisherman and the Goldfish, The Little Orange Lantern, Thunderstorm, and Home?

Hugo France Written about a man who is ugly on the outside but has a good heart.

DEFEVER England Robinson loved sea adventures, once, the ship he was on was shipwrecked and he was the only one who survived, he survived on his own on the island and saved a savage called Friday, and finally by saving a man who was the captain of the ship, so he finally left that island and had a good life afterward.

Lev. Tolstoy Russia This is not very clear ah o(∩_∩)o...

Pushkin, Russia There are some fairy tale books about this, right? Haha

Bingxin China It was more than ten years ago.

On the afternoon of the day before a Chinese New Year, I went to the outskirts of Chongqing to see a friend. She lived above the village office in the countryside. Walking up a dark, cramped staircase, I entered a room with a square table and a few bamboo stools, a telephone mounted on the wall, and then went in to my friend's room, which was separated from the outer room by a curtain. She was not at home, and a note was left on the table in front of the window saying that she had gone out on a short notice and asking me to wait for her.

I sat down at her table and picked up a newspaper to read it, when I suddenly heard the door of the outer room open with a creak, and after a while, I heard someone moving the bamboo stool. I lifted the curtain, saw a little girl, only eight or nine years old, thin pale face, frozen purple lips, hair is very short, wearing a very worn clothes and pants, barefoot wearing a pair of straw sandals, is mounting the bamboo stool to pick the wall of the hearing device, saw me seem to be shocked, hand shrink back. I asked her, "Do you want to make a phone call?" She climbed down on one side of the bamboo stool, nodded and said; "I want to XX hospital, looking for Dr. Hu, my mother just vomited a lot of blood!" I asked, "Do you know the phone number of XX Hospital?" She shook her head and said, "I was about to ask the telephone bureau ......" I hurriedly found the hospital's number from the phone book next to the machine, so I asked her again, "After I find the doctor, to whose house do I ask him to go? " She said, "You just need to say Wang Chunlin home sick, he will come."

I got the call through and she thanked me gratefully and turned back. I pulled her back and asked, "Is your home far away?" She pointed out the window and said, "It's right under that big yellow fruit tree in the mountain nest, a quick walk away." With that she choked, choked, choked and went downstairs.

I went back to the inner room, read the newspaper before and after, and picked up a copy of the Three Hundred Poems of Tang Dynasty, and read half of it, the sky was getting more and more cloudy, and my friend was not back yet. I stood up in boredom, looked out of the window at the misty mountain scenery, saw the hut under the yellow fruit tree, and suddenly wanted to visit the little girl and her sick mother. I went downstairs and bought a couple of big red oranges at the gate, stuffed them in my handbag, and walked down the crooked, uneven stone path to the door of that hut.

I knocked gently on the slate door, and the little girl from earlier came out and opened it, looked up at me, froze for a moment, then smiled and beckoned me in. This room is very small and dark, * wall of the board bunk, her mother closed eyes lying flat, about asleep, the head of the quilt has spots of blood, her face inward side, only see her face messy hair, and the back of the head of a big bun. By the door a small charcoal stove with a small casserole on top was slightly steaming. This little girl let me sit on the small stool in front of the stove, and she herself squatted next to me. Couldn't stop sizing me up. I asked gently, "Has the doctor come yet?" She said, "Came by and gave mommy a shot ...... She's fine now." She added as if to comfort me, "Don't worry, the doctor will be back in the morning." I asked; "Has she eaten anything? What's in this pot?" She laughed and said, "Sweet potato thin rice - our New Year's Eve dinner." I remembered the orange I had brought and took it out and put it on the small low table next to the bed. She didn't make a sound, only reached for one of the largest oranges, peeled a section of the top with a knife, and gently probed and squeezed a large part of the bottom half with both hands.

I asked in a low voice, "What else is in your house?" She said, "There's no one right now, my dad went outside ......" She didn't say any more, only slowly pulled a fleshy orange petal out of the peel and placed it next to her mom's pillow.

The shimmering light of the fire, gradually dimmed, and it became dark outside. I stood up to go, she pulled me back, one side extremely agile to take a large needle wearing twine, the small orange bowl around the relative thread up, like a small basket, with a small bamboo stick pick, and from the window sill took a short piece of wax head, put it inside the light up, handing me, said: "It's getting dark, the road is slippery, the small orange lamp to light you to go up to the mountain it! "

I took it appreciatively, and thanked her, and she sent me out to the door, and I didn't know what to say, and she said, as if to comfort me, "Soon, my father will surely come back. My mommy will be well then." She drew a circle in front of her with her little hand and finally pressed it into mine, "And we'll all be better too!" Obviously, that "everyone" includes me.

I carried the clever little orange lamp as I slowly made my way down the dark, damp mountain road. The hazy orange-red light couldn't illuminate much, but the little girl's calm, courageous and optimistic spirit inspired me, and I seemed to feel that there was infinite light in front of me!

My friend has come back, saw me carrying a small orange lamp, they asked me where I came from. I兑："From ...... from Wang Chunlin's house." She said in amazement, "Wang Chunlin, that carpenter, how do you recognize him? Last year under the mountain medical school, there are a few students, was taken as **** the proletariat arrested, after Wang Chunlin also disappeared, it is said that he often for those students to send a letter ......"

That night, I left that mountain village, and never heard that little girl and her mother's news.

But from then on, every Spring Festival, I thought of that little orange lamp. Twelve years have passed, the little girl's father must have come back early. Her mom must be doing well, too, right? Because all of us are "well"!

Cao Yu China Thirty years ago, Zhou Puyuan, the young master of the Zhou family, fell in love with his maid, Shiping, and they had two sons, but the Zhou family objected to their union, and forced Shiping to leave in order to find Zhou Puyuan a rich lady from the same family. With full of grief and anger, Shui Ping left her eldest son Zhou Ping and threw herself into the river with her youngest son in her arms. After being rescued, she married Lu Gui and had a daughter, Si Feng.

Thirty years later, by exploiting his workers, Zhou Puyuan had become chairman of a coal-mining company. He had another young wife, Fan Yi, and had a son, Zhou Chong. Perhaps by coincidence, or a trick of fate, Lu Gui and Sifeng came to the Zhou Mansion to work as maids, and Lu Dahai (the youngest son of Shiping) also became a worker in the Zhou family coal mine, and rebelled against Zhou Puyuan's exploitation and oppression as a strike representative. Zhou Puyuan is a "good man in society," but at home he is an authoritarian patriarch. In such a stifling family, evils are quietly unfolding: Zhou Ping has an affair with his stepmother, Fan Yi, and later, in order to get rid of Fan Yi's entanglements and to repent for his "past sins," he seeks support from Sifeng, and impregnates her. The first time he came to Zhou's house, Shiping came to recognize Zhou Puyuan. Although Zhou Puyuan had always missed Shiping, when she really appeared in front of him, he felt that she came to settle old scores and tried to atone for his sins with money, which was rejected by Shiping.

Finally, one night during a thunderstorm, there is a general outbreak of all the conflicts. Learning of her blood relationship with Zhou Ping, Sifeng, who couldn't bear the blow, rushed into the rain and was unfortunately electrocuted. Zhou Chong, who had been secretly in love with Sifeng, chased after her and was also electrocuted trying to save her. In the chaos, Zhou Ping shoots herself. In the end, only the emaciated Zhou Puyuan remains, accompanied by the demented Servant Ping and the maddened Fan Yi. The script depicts such a cruel world, where everyone is "scrambling blindly, loach-like, rolling comatose in the fire of emotion, saving themselves with their hearts," but no matter how much they struggle or how much they holler, it is difficult to escape their tragic fate.

While the author attributes the cause of this tragic fate to the "cruelty" and "coldness" of the struggle in the universe, and to the "God" or "fate" behind this struggle, he also says that "God" and "fate" are not the same as "God" and "fate". or "fate" behind the struggle, but the direct cause of the tragedy is still Zhou Puyuan's sins committed 30 years ago, so the play objectively points the finger of criticism at the class represented by Zhou Puyuan.

Zhou Parkyuan is a typical capitalized feudal patriarch. At the social level, he is a ruthless capitalist who sucks the blood and sweat of the workers, and does all kinds of unethical deeds; at the family level, he is a selfish and tyrannical patriarch, who cannot tolerate a little bit of freedom of thought and independence of personality, and oppresses his wife and children spiritually, emotionally, and psychologically, which results in the monstrous revolt of Fengyi and creates new sins. new evils. Through this character, the author exposes the feudalism of the Chinese bourgeoisie, and thus has a strong sense of realism. Of course, Zhou Puyuan is not a symbol of some political concepts, but a complex character with flesh and blood. His feelings for Shiping are sincere, and the repentance he shows when facing Shiping is not a hypocritical act.

Another character, Shui Ping, is purely a victim, not only of her own victimization, but also of her own daughter's repetition of the same mistake, and even into a more tragic fate. This tragedy profoundly expresses the misfortunes of the humiliated and damaged lower-class characters, and accuses the inhumanity of society.

Ba Jin China Home is Ba Jin's masterpiece, the most successful of his long series of novels, The Riptide Trilogy (including Home, Spring, and Autumn), and an excellent long piece of modern literature depicting the history of the rise and fall of a large feudal family. It profoundly reveals the features, drawbacks and evils of feudal absolutism and the feudal family system, points out its inevitable fate of extinction, and is a monument to attacking the feudal autocracy.

The story of "The Family" takes place around the time of the May Fourth Incident, when Chinese society was in the midst of an upheaval and turbulent period of historical transition. The setting is Chengdu, Sichuan Province, in China's then-enclosed hinterland. There is a large family of bureaucratic landlords, the Gao Gongguan, in which there are five branches in addition to the Old Master. The novel mainly takes the story of the three brothers in the long house: Jiexin, Jiemin, and Jiehui as the warp, and the various characters in the houses and relatives as the weft, depicting a picture of the life of the big family, concentrating on the typical form of the life of a feudal big family, and also recording the historical process of the decline, corruption, and eventual collapse of a feudal big family in a real way. Since the introduction of new literature, there have been a lot of creations based on the theme of exposing the old family and old rituals, but in the form of a long series of novels and on such a large scale, "The Family" and "Spring" and "Autumn" are the first time to make a systematic and in-depth portrayal of the gradual process of the collapse of the feudal family in modern times, and they have a very important position in the history of modern literature.

The novel describes the different ideological characters and life paths of the three brothers, Juexin, Jiemin and Juehui, the love and marriage entanglements between several pairs of young people - Juexin and Qian Meifen and Li Ruijue, Jiemin and Qin, and Juehui and Mingfeng, and their different encounters; and the students' petitions, Juehui's confinement, and the mutiny and panic. The writer writes about the student petition, the imprisonment of Juehui, the mutiny, the tragic deaths of Mingfeng, Meifen, and Ruijue, the escape of Juemin from marriage, and the departure of Juehui from the country....... Through these stories, the writer's criticism is not only directed at the old rites and rituals, but also at the authoritarianism that is the core of the feudal rule. The real meaning of the tragedy of love and marriage it describes is not just to advocate free love, but to awaken the consciousness of young people as "human beings" and to inspire and call upon them to break with their feudal families. In the author's opinion, the tragedy of love between Juehui and her servant girl Mingfeng, and the tragedy of marriage between Juexin and Qian Meifen and Li Ruijue are rooted in the irreconcilable contradiction between their desire to pursue happiness in love and marriage and feudalism and feudal despotism, and it is the authoritarian system represented by the old family that kills their happiness and life. Ba Jin wrote this novel, the purpose is that he wanted to use the pen as a weapon to this "dying system", shouting "I accuse":

When I wrote Family, I seemed to suffer with some people, struggling together in the clutches of the devil. I laughed with those lovely young lives, and I wept with them. As I wrote on, word by word, it seemed to me that I was digging the grave of my memories, and I saw again all that used to thrill my heart. When I was a child, I was often made to witness the destruction of some lovely young life to a miserable end. At that time my heart was agonized by love and pity, but at the same time it was full of curses. I had the kind of feelings that Jue Hui had aroused at the spirit of his dead cousin (Mei), and I even said what Jue Hui had said in front of his brother, "Let them come and be sacrificed for once." It was not until I finished writing Home at the end of 1931 that my resentment toward the irrational feudal extended family system had a chance to pour out. Therefore, in a "Preface" I wrote in 1937, I boldly said, "I have come to call out my I'accuse to this dying system." I also said that the belief in the inevitable collapse of the feudal extended family system inspired me to write this history of the feudal extended family, the story of the sorrows and joys of the collapsing feudal extended family of the landowning class. I call this story The Riptide Trilogy, and after The Family there are two sequels: Spring and Autumn.

(From "Talking to Readers about 'Home'," Ba Jin Research Materials, Volume 1, Straits Literature and Art Publishing House, 1985 edition)

Unit 5, Memory of the Family, "Home" I don't want to single out our family to write a special history of it. What I write should be the history of bourgeois families in general. The main characters in it should be those we often see in those families. I want to write about how such a family inevitably goes down the path of collapse, approaching the grave it has dug with its own hands. I want to write about the tensions, the struggles and the tragedies that are contained therein. I want to write about how the lives of some lovely young people suffer and struggle in that place and finally perish. I will write at last of a traitor, a childish but bold traitor. I want to pin my hopes on him, and ask him to bring in a little fresh air to us, who are suffocating in that old family.

(From Ba Jin's "Preface to the Tenth Edition of the Revised Version of 'Home' - For a Cousin of Mine")

Ba Jin grew up under the direct influence of the May Fourth Movement, and, as he himself later recalled, at that time, "I was hungry for all kinds of publications of the New Culture Movement.

Ba Jin grew up under the direct influence of the May Fourth Movement, as he later recalled, "I hungrily snatched up all kinds of publications of the New Culture Movement, swallowing them line by line, and writing letters everywhere to ask for a clear way out, as long as I could overthrow the old and build the new, that is to say, to go into the soup and into the fire, and I was willing to do so. ...... We are the spawn of the May Fourth Movement, and are the generation that was awakened and educated by the young heroes of the Movement. " It can be said that the May Fourth Movement gave him a pair of eyes to see the world. His own family story provided him with a colorful background and a rich material base. It is by telling the story of such a "small society" during the period 1919-1924 that Bajin expresses his social and cultural views as a "child of the May Fourth Movement", which are not without contradictions.

On the one hand, the novel depicts the lives of four generations of the Gao family and sets them into two camps, the old and the new. On the one hand, there is the old generation of rulers represented by Old Master Gao, Feng Leshan, Gao Keming, Zhou Botao as well as Gao Ke'an and Gao Kedi, who are tyrannical and dawdling, hypocritical and stubborn, and are the embodiment of Confucian ethics and morality as well as the makers of all the misfortunes in the novel, whereas the younger generation represented by Gao Jiemin and Gao Juehui constitutes a sharp opposition to their father's (grandfathers') generation with the image of a rebel:

He (Juehui) took his grandfather's s long, thin body several times with attention. Suddenly a strange thought came into his mind. He felt that what lay before him was not his grandfather, that this was only a representation of an entire generation. He knew that they, these grandchildren, could never know each other. But he wondered what was hidden inside this long, thin body that would make them talk in one place not like grandfather and grandson, but like two enemies.

This scene becomes a meaningful symbol of the relationship between the characters in the novel. Differences in life paths and values are naturally the biggest differences between the two, but in the novel, the high or low moral character is considered the biggest symbol distinguishing the two generations. The younger generation, who accepted the new ideas of "May Fourth", represents justice and conscience, while the older generation represents hypocrisy, shamelessness, cruelty and evil, and the two are clearly distinguished from each other. In the novel, this idea is always interpreted from the perspective of young people. All these clearly reflect the author's value stance based on the "May Fourth" new culture, which comprehensively criticizes and denies the feudal family system and the traditional Confucian ideology and concepts. From this standpoint, the novel fiercely attacks the feudal superstitions of "ghost hunting by sorcerers" and "bloodshed", and ridicules the cumbersome customs of funerals and weddings, denouncing them as "comical". The movie is a "comic" one. "Emotionally, the novel is an indictment of all the evils of the old family system, such as the unfreedom of love, the suppression of individuality, the cruelty of rituals, the absolute authority of the elders, and the impudence of the guardians." See Luo Thanh Diem and Yan Zhen, "Confucian Culture and 20th Century Chinese Literature," Literary Review, No. 1, 2000. In line with this mood, the novel employs a rather emotional and colorful language, in which the characters often use emotionally exaggerated, straightforward sentences such as "I suffer ...... I accuse ......" to describe their psychological state and express their personal feelings, thus turning this personal catharsis into an act of social protest. And all the other complex emotions of life are consciously or unconsciously ignored. "From a historical point of view, this emotionally colored linguistic form was formed under the radical anti-traditional and anti-authoritarian 1930s cultural mentality, but at the same time it became the basic vehicle through which this cultural mentality was able to continue and develop." See Xu Zidong, "Ba Jin and the "Youth Revolutionary Mentality," in Notes on Reading Contemporary Fiction, East China Normal University Press, 1997 edition, p. 235.

Such a plot pattern is precisely the reflection of real-life conflicts in literature. The era in which The Family was born was a time when the ancient Chinese nation was seeking to strengthen itself and rebuild its civilization in the face of internal and external problems and backwardness. However, since the Opium War, the foreign affairs movement's quest for wealth and strength, and the efforts to reform the system and culture of the New Reform Movement have all failed one after another. Although the Xinhai Revolution overthrew thousands of years of feudal empire and established the Republic of China, it was a mere formality, and Chinese society was plunged into an even more chaotic and disorganized situation. The reason for this situation, in the view of the advocates of the May Fourth New Culture Movement, lies in China itself, and it is the thousands of years of Chinese historical traditions that prevent the Chinese nation from becoming strong. If China wanted to get rid of its backwardness, it had to make a complete break with this tradition. And this break can only be realized through the total denial and extreme vilification of tradition. Therefore, in their writing, tradition became the culprit, the culprit, the devil, and the cannibal. "Enlightenment thinkers were placed almost from the beginning in the role of filling in the theoretical lessons for the Xinhai Revolution and finding value legitimacy for the ideology symbolized by the democratic **** and system." See Xu Jilin and Chen Dakai, A History of Chinese Modernization, p. 321. But a nation's historical tradition cannot easily disappear; it is bound to create sharp opposition and conflict with emerging forces. The contradictions in the social reality will often be condensed into the opposing concepts in the ideological field in a roundabout way, and the opposing concepts in the ideology will inevitably be manifested in the formal structure of the works. The structural pattern of father-son antagonism in "The Family" is precisely the visualization of the contradiction between tradition and modernity, between China and the West in reality, and the departure of the son's generation and the death of the feudal patriarchs and the collapse of the feudal extended family in the novel are precisely the imaginative resolution of this contradiction.

This mode of family storytelling in The Family is so typical of Enlightenment discourse that it served as an extremely powerful model for the creation of subsequent family novels. Criticism and complete rejection of the traditional family system and feudal rites also became an enduring and powerful theme of such novels. Like Duanmu Hongliang's The Grassland of Horqin Flag, Lu Ling's The Sons and Daughters of the Wealthy Master, and Mao Dun's Frosty Leaves Like February Flowers, the structural pattern of father-son antagonism in The Family has been inherited to a greater or lesser extent.