The following are the relevant materials of the main contents of these four works:
Camels look like:
The novel Camel Xiangzi is the masterpiece of Lao She, a famous modern writer in China.
Camel Xiangzi tells the tragic story of Xiangzi, a rickshaw driver in Beiping, old China. Xiangzi came from the countryside, and the declining countryside made him unable to survive. He came to this city, eager to create a new life with his honest work. He tried all kinds of jobs and finally chose a rickshaw. This career choice shows that although Xiangzi left the land, his way of thinking is still the way of thinking of farmers. He is used to individual labor, and he is also eager to have a car as reliable as land. Buy a car and be an independent worker. "This is his wish, hope and even religion." The city seems to have given Xiangzi a chance to realize his wish. Struggled for three years, bought a car, and was robbed in less than half a year. But Xiangzi still refused to give up his car dream. Although he doubted his pursuit and wavered several times, he kept pulling himself together and struggling again. It should be said that Xiangzi's tenacious character and stubborn attitude struggle with life, which constitutes the main plot content of the novel. The end of the struggle ended in Xiangzi's failure, and he finally failed to realize his dream of owning his own car. The realistic profundity of this novel lies in that it not only describes Xiangzi's material life deprived by the harsh living environment, but also describes Xiangzi's spiritual degeneration after his life ideal is destroyed. "He has no heart. His heart has been taken away." In this way, a hardworking and kind-hearted rural youth was transformed into a walking dead unemployed.
Xiangzi's tragedy is the product of his social life environment. By describing the characters and interpersonal relationships around Xiangzi, the novel truly shows the life of that dark society, the ugly faces of warlords, spies and car factory owners, and the distorted reflection of the oppression and oppressed relationship of Xiangzi by their ruling network. The novel does not avoid the instinctive desire and a little attachment between Xiangzi and Tigress, but at the same time it profoundly describes that even this kind of love between men and women is based on the relationship between money and interests, so Tigress should always keep the money in her own hands. "The money is in her own hands, and the power is on her own." The combination of Tigress and Xiangzi undoubtedly aggravated Xiangzi's tragedy.
Teahouse:
Teahouse tells the story of Wang Lifa, the owner of a teahouse, who is bent on making his father's teahouse prosperous, so he socializes everywhere, but the harsh reality makes him often ridiculed. Finally, it was swallowed up by a ruthless society. Qin, a national capitalist who frequented teahouses, went from ambitious industrial salvation to bankruptcy; Chang Yesi, the son of the generous Eight Banners, embarked on the road of self-reliance after the demise of the Qing Dynasty. The story also reveals the living conditions of some small people, such as pockmarked Liu. Based on the rise and fall of a big teahouse in old Beijing, the whole play shows people the social features of Beijing and the different fates of people from all walks of life during the 50 years from the late Qing Dynasty to the victory of the Anti-Japanese War.
In the era when the Qing Dynasty was about to perish, Yutai Teahouse in Beijing was still a scene of "prosperity": caged birds, fortune-telling, buying antiques and jade articles, and playing cricket were all available. Wang Lifa, a smart young shopkeeper, is taken care of by all parties. However, behind this "prosperity" lies the suffocating decline of the whole society: foreign goods flooded the market, the countryside was in ruins, parents sold their children, eunuchs married, and patriots were arrested.
In the early years of the Republic of China, the people suffered from years of warlord infighting, and all the big teahouses in Beijing were closed. Only Wang Zhanggui improved its management, turned the backyard of the teahouse into an apartment for college students, and put a phonograph in the hall. Nevertheless, social unrest spread to teahouses: refugees blocked doors, soldiers robbed shopkeepers of money, and detective teams came to extort money from time to time. The turbulent environment makes ordinary people even more at a loss. Thirty years later, Wang Zhanggui, which is in its twilight years, improved again and even introduced waitresses to support teahouses. Japan surrendered, but the Kuomintang plunged the people into civil war. Jeeps went on the rampage, patriots were suppressed, and rogue agents wanted to occupy the teahouse that Wang Zhanggui had painstakingly managed all his life. Wang Lifa is desperate.
At this time, two friends who made friends 50 years ago happened to come. One is Mr. Chang, who was arrested by the Qing court, and the other is Mr. Qin, who completely collapsed in business for half his life. The three old people recalled the past with tears in their eyes, lamenting that the world was getting worse and worse, that little people were struggling for survival, and sadly scattered the paper money they found to die early for themselves. In the end, Wang Lifa was left alone. He picked up his belt, went into the inner room, looked up at the roof, and looked for a place where he could safely end his life.
Lao She's Teahouse takes a teahouse in Beijing as the stage, and uses the characteristics that a big teahouse is a small society to unfold the life scenes and historical trends in three different times after the failure of the Reform Movement of 1898 in the late Qing Dynasty, during the occupation by the northern warlords in the early Republic of China and before the collapse of the Kuomintang government's rule in the mainland. Before and after half a century, there were 60 to 70 people, almost including representatives of various social classes and social forces in semi-feudal and semi-colonial China. The whole drama has no central story clue, and there is no close plot connection between scenes, but it can be closely structured and achieved in one go. It has a strong color of the times, reproduces sharp conflicts and rich social life in many aspects, and reveals the truth that we must find another way out through the decline of old China. The script ends with a sad scene in which three old people from different social classes (national capitalists, teahouse owners and self-employed workers) are all down and out, throwing paper money to mourn themselves, symbolizing.
Old funerals. The whole play is only over 30,000 words, but it contains such rich historical content, and the wisdom and humor of the screenwriter are everywhere.
Longxugou:
Longxugou is a three-act play by China. One of Lao She's representative works. Written in 1950, 195 1 February and premiered by Jiao Juyin. The script describes the different experiences of four families in a small courtyard in Beijing in social change, and shows the great changes in people's life and destiny in the new era. The works have created such distinctive characters as crazy Cheng, Aunt Wang, Niangzi and Sisao Ding. Their experiences and mentality show the enthusiasm of the people to innovate and the youthful vitality of the whole society to make progress. His works won special awards from the government, and the writer Lao She was awarded the title of People's Artist. It was staged all over the country and then made into a movie of the same name. The Beijing Art Troupe of Japan also translated and performed the play.
Four generations under one roof:
Four generations under one roof is Lao She's best novel. However, due to the intervention of mainland political forces, this magnificent trilogy was not fully presented to readers until after the Cultural Revolution. This million-word masterpiece is as rich in connotation and characterization as A Dream of Red Mansions.
The whole story revolves around the Qi family. The four generations of Qijia represent the Qing people with old ideas, the people with old rules in the late Qing Dynasty and the Republic of China, the people with new ideas, and the future people represented by Xiao Shuner and Xiao Shuner. Lao She weaves the life of the displaced citizens in War of Resistance against Japanese Aggression for eight years and the influence of the war on the hearts of people from all walks of life into his novels. The Qi family's experience in the 8-year war is like a dramatic modern history of China, and the weakness of human nature in feudal society is fully revealed.
The novel takes place in the small sheepfold, and the main plot revolves around the development of three families, among which the Hao family is the main line. This family has four generations under one roof, which is the reason for the title of the novel. For Lao She, the Hao family represents a typical middle-class family, diligent, courteous and self-sufficient. When the war broke out, every family member had his own judgment and decision, which led to different results.
In this novel, Lao She pinned her most personal feelings on an invisible figure, that is, Beiping. His love for Beiping City is everywhere in the whole novel. ..... "The tenderness in his works can't be compared with any of his early works." Four generations under one roof was originally written about how Beiping lost its former beauty, but this novel has become the best reference book in this city. In Aftertaste, the four seasons scenery, flavor food, social customs and artistic conception of life in Beiping are described in detail. Because of the war, Beiping was unfamiliar in Lao She's imagination and was endowed with a better literary image than before.