介绍老舍用英语怎么说
1. 老舍的生平英文及中文
Lao she, Chinese novelist and playwright. Born in 1899, in 1966, manchu, origin of Beijing. ShuQingChun formerly, word for shevchenko. Lao she is most commonly used his pen name.
In 1918 he graated from Beijing normal school, elementary school, students outside north advised, etc.
Lao she's major works include novel luotuo xiangzi and the philosophy of old zhang, four generations, 1924, Lao to London university institute of east China and Chinese literature teaching. Since 1925, has written three novels. 1926 Lao she join literature research. In 1929, bypass, Shapiro return. Since July 1930, to jinan qilu university. In 1934, shandong university professor GaiRen Qing.
Lao she in 40 years writing career, ideological art on made important progress and breakthrough. His writing diligence, diligently dabbling every field of literary creation, was a prolific writer wrote more than 1,000 life (department). Initial suffered persecution of cultural revolution in 1966, since August 24, addicted to Beijing area.
2. 老舍简介英语作文30词
我的父亲
【内容提示】
用英语写一篇介绍你父亲的文章。内容包括：
①父亲中等身材，长得结实，看上去很严肃。
②父亲对人体贴入微，善解人意。
③父亲是一个成功的人，他有才能，依靠自身的努力在事业上取得了成绩，使家庭富裕，获得社会地位。
④作为家长，父亲是一位严厉的人，对孩子要求严格，望子成龙心切。
【作文示范】
My Father
My father is of middle height. His eyes are sharp and full of expression. He always appears serious and looks like a judge. At first sight you may think he is hard to come near. In fact he is very kind and thoughtful① of others and their feelings. Appearance often makes people think wrongly; therefore we cannot give an opinion about a person by appearance.
My father is a man of success. By his own talents and efforts, he has achieved great achievements in what he does. He has not only created wealth for society but also provided our family with a rich life. Now he is well-known to people all over the city. People of all walks of life②come to my house and, as a result, I gain lots of hard-earned social experiences③and see more joys and sorrows of the world.
At home my father is a severe parent. He is very strict with my mother and me. He does not allow my mother to accept anything from others. He requires that my mother should go to office in time and leave it last. He has high expectations of me.④ When I am lazy and idling away my time⑤, I can see that it hurts him deeply. When I am doing something great, such as carrying out an experiment, he is more than excited. With such a father I am always reminded of going on and on, never giving up.
【词语解释】
①thoughtful['I&:tful] a．体贴的；考虑周到的
②all walks of life 各行各业
③hard-earned social experiences 极为难得的社会经验
④He has high expectations of me. 他对我期望很大。
⑤idle away one's time 消磨时间；浪费时光
【写法指要】
1）本文也是一篇介绍家人的文章。第一段写父亲的外貌和他的为人。第二段写父亲在事业上的成功和他的名望。第三段写父亲对待家人的态度，他对妻子和子女都要求很严。文章的最大特点是在每一段的最后都要写一句作者自己的感想。
2）文中有不少值得借鉴的表达方式，如：“be of middle height”，“be full of expression,”“looks like a judge”,“be thoughtful of others”,“a man of success”, “create wealth for society”,“be well-known to people”, “all walks of life”, “have high expectation of sb.”, “idle away one's time”等。
3. 老舍的简介（英文）
Lao Shê (1899-1966) - also Lao She - pseudonym of Shu Sheyou, original name Shu Qingchun
Chinese playwright and author of humorous, satiric novels and short stories. Lao She is perhaps best known for his story LO-T'O HSIANG-TZU (1936, Rickshaw), a twentieth-century classic. An unauthorized and bowdlerized English translation, Rickshaw Boy, with a happy ending, appeared in 1945 and became a U.S. bestseller.
"The person we want to introce is Hsing Tzu, not Camel Hsiang Tzu, because "Camel is only a nickname. We'll just say Hsiang Tzu for now, having indicated that there is a connection between Camel and Hsiang Tzu." (from Rickshaw)
Shu Quingchun (Lao She) was born Shu She-yü of Manchu descent in Beijing. His father, who was a guard soldier, died in a street battle ring the 1900 Boxer uprising. To support her family and Lao Shê's private tutoring, his mother did laundry. "During my childhood," Lao She has later said, "I didn't need to hear stories about evil ogres eating children and so forth; the foreign devils my mother told me about were more barbaric and cruel than any fairy tale ogre with a huge mouth and great fangs. And fairy tales are only fairy tales, whereas my mother's stories were 100 percent factual, and they directly affected our whole family." (Lao Shê in Modern Chinese Writers, ed. by Helmut Martin and Jeffrey Kinkley, 1992)
Fatherless since early childhood, Lao She worked his way through Peking Teacher's College. After graation he supported himself and his mother through a series of teaching and administrative posts. He served as a principal of an elementary school at the age of 17, and later he was a district supervisor. Lao She spent the years from 1924 to 1929 in London, where he taught Chinese at the School of Oriental and African Studies. By reading amongst other things the novels of Charles Dickens, Lao She improved his English, and decided to start his first novel.
In 1930 Lao She returned to China and continued to write and teach Chinese at Qilu and Shadong Universities. MAO CH'ENG CHI (1933, Cat Country) was a bitter satire about Chinese society. In NIU T'IEN-TZ'U CHUAN (1934, Heavensent), partly modelled on Fielding's Tom Jones, Lao She turned again to humor. He reversed his early indivialist theme and stressed the futility of the indivial's struggle against society as a whole. In Rickshaw Boy Lao She traces the degradation and ruin of an instrious Peking rickshaw puller, a peasant drawn to the city. To earn his living, he pulls a rented rickshaw from dawn till dark, enjoys briefly the status of owner-operator, and finally dies on a snowy night. Evan King's translation published in 1945 invented new characters and changed the ending.
The outbreak of the second Sino-Japanese War (1937-45) radically altered Lao She's views. Between the years 1937 and 1945 he wrote a number of plays, worked as a propagandist, and headed the All-China Anti-Japanese Writers Federation. After World War II Lao She published a gigantic novel in three parts, SSU-SHIH T'UNG-T'ANG (abridged translation The Yellow Storm). It dealt with life in Peking ring the Japanese occupation of Manchuria. Between the years 1946 and 1949 Lao She lived in the United States on a cultural grant at the invitation of the Department of State. When the People's Republic was established in 1949, Lao She returned to China.
Among Lao Shê's most famous stories is 'Crescent Moon', written in the early stage of his creative life. It depicts the miserable life of a mother and daughter and their deterioration into prostitution. "I used to picture an ideal life, and it would be like a dream," the daughter thinks. "But then, as cruel reality again closed in on me, the dream would quickly pass, and I would feel worse than ever. This world is no dream - it's a living hell. " (from 'Crescent Moon')
Lao She was a member of the Cultural and Ecational Committee in the Government Administration Council, a deputy to the National People's Congress, a member of the Standing Committee of the Chinese People's Political Consultative Conference, vice-chairman of the All-China Federation of Literature and Art and vice-chairman of the Union of Chinese Writers as well as chairman of the Beijing Federation of Literature and Art. He was named a 'People's Artist' and a 'Great Master of Language'. His plays, such as LUNG HSÜ-KOU (1951, Dragon Beard Ditch), became ideologically didactic, and did not reach the level of his former work. SHEN JUAN written in 1960, on the sixtieth anniversary of the Boxer uprising, was a four-act play about the Boxers. Lao She emphasized the anti-imperialistic zeal of the Boxers and the burning and killing carried out by the allied powers. During the Cultural Revolution, Lao She was publicly denounced and criticized, as a number of other writers and intellectuals. On October 24, 1966, Lao She was murdered or driven to suicide. His last novel, The Drum Singers (1952), was first published in English in the United States.
Since the fall of Chiang Ch'ing, guiding hand of the Cultural Revolution, in 1971, Lao She's works have been republished. In 1979, he was posthumously "rehabilitated" by the Communist Party. Several of his stories have been made into films, including This Life of Mine (1950, dir. by Shi Hui), Dragon Beard Ditch (1952, dir. by Xian Qun), Rickshaw Boy (1982, dir. by Zifeng Ling), The Teahouse (1982, dir. by Xie Tian), The Crescent Moon (1986, dir. by Huo Zhuang), The Drum Singers (1987, dir. by Tian Zhuangzhuang ), and The Divorce. Tian Zhuangzhuang's film version of The Drum Singers (1987) was mostly shot on location in Sichuan.
Lao She's most frequently performed plays is CHAGUAN (Teahouse), which was written in 1957. The events are set in the Beijing teahouse of Wang Lifa ring three different periods: 1898 under the empire, the 1910s under the warlords and around 1945 after WW II. "In the teahouses one could hear the most absurd stories," Lao She writes of the scene set in 1898, "such as how a in a certain place a huge spider had turned into a demon and was then struck by lightning. One could also come in contact with the strangest of views; for example, that foreign troops could be prevented from landing by building a Great Wall along the sea coast." Lao She follows the lives of Wang and his customers. Ambivalently Wang and his friends demonstate the failure of their lives towards the end by a mock funeral, welcoming the new society. The teahouse is requisitioned as a club and Wang is offered a job as doorman - however, he has already hanged himself. - The Beijing People's Art Theatre performed the play in 1980 in West Germany and France ring the three-hundredth anniversary of the Comédie-Française.
For further reading: Lao She, China's Master Storyteller by Britt Towery, et al (1999); Encyclopedia of World Literature in the 20th Century, vol. 3, ed. by Steven R. Serafin (1999); Merriam-Webster's Encyclopedia of Literature (1995); Fictional Realism in Twentieth Century China: Mao Dun, Lao She, Shen Congwen by T. Wang (1992); McGraw-Hill Encyclopedia of World Drama, ed. by Stanley Hochman (1984); Two Writers and the Cultural Revolution: Lao She and Chen Jo-hsi, ed. by G.Kao (1980); Lao She and the Chinese Revolution by R. Vohra (1974); The Evolution of a Modern Chinese Writer: An Analysis of Lao She's Fiction, with Biographical and Bibliographical Appendices by Z. Slupski (1966)
Selected works:
CHAO TZU-YÜEH, 1927
LAO CHANG TI CHÊ-HSÜEH, 1928
ERH MA, 1929 - Ma and Son
HSIAO-P'O THE SHENG-JIH, 1931
MAO CH'ENG CHI, 1932 - Cat Country (trans. by William A. Lyell)
LI HUN, 1933 - The Quest for Love of Lao Lee
MAO-CH'ENG CHI, 1933
KAN-CHI, 1934
NIU T'IE-TZ'U CHUAN, 1934 - Heavensent (trans. by Xiong Deni)
YING-HAI-CHI,1935
LUOTUO XIANGZI / LO-TO HSIANG TZU, 1936 - Rickshaw Boy / Camel Xiangzi (1945, unauthorized and with a happy ending; Rickshaw: the novel Lo-to Hsiang Tzu, trans. by Jean M. James) - Riksapoika (suom., tekijänimellä Lau Shaw) - film 1982, dir. by Zifeng Ling, starring Fengyi Zhang, Gaowa Siqin
KO-TSAO-CHI, 1936
LO-T'O HSIANG-TZU, 1938
LAONIU P'O-CH'E, 1939
CHIEN-PEI 'PIEN, 1940
KUO-CHIA SHIH-SHANG, 1940 (with Sung Chih-ti)
HUO-CH'E-CHI, 1941
WEN PO-SHIH, 1941
KUEI-CH-Ü-LAI HSI, 1943
TS'AN-WU, 1943
MIEN-TZU WEN-T'I, 1943
CHUNG-LIEH T'U, 1943
WANG-CHIA CHEN, 1943
CHANG TZU-CHUNG, 1943
TA-TI LUNG-SHE, 1943
T'AU-LI CH'UN-FENG, 1943
SHEI NSIEN TAO-LE CH'UNG'ING, 1943
HUOTSANG, 1944
Ricshaw Boy, 1945 (unauthorized translation with happy ending)
TUNG-HAI PA-SHAN-CHI, 1946
SSU-SHIH T'UNG-T'ANG, 1946-51 - The Yellow Storm (trilogy); first part HUANG-HUO (1946), second part T'OU-SHENG (1946), third part CHI-HUANG (1950-51)
WEI-SHEN-CHI, 1947
FANG CHEN-CHU, 1950
LUNG-HSÜ-KOU, 1953 - Dragon Beard Ditch - film 1952, dir. by Xian Qun, starring Yu Shi, Yu Lan, Zhang Fa
PIEN MI-HSIN, 1951
The Drum Singers, 1952 - film: Folk Artists, a.k.a. The Street Players (Gushu Yiren), 1987, dir. by Tian Zhuangzhuang
CH-UN-HUA CH'IU-SHIH, 1953
HO KUNG-JEN T'UNG-CHIH-MEN T'AN HSIEH-TSO, 1954
WU-MING KAO-TI YU-LE MING, 1954
SHIH-WU KUAN, 1956
HSI-WANG CH'ANG-AN, 1956
CHAGUAN, 1957 - Teahouse (trans. by John Howard-Gibbon) - film 1982, dir. by Xie Tian
FUHSING-CHI, 1958
HUNG TA-YÜ AN, 1958
CH'ÜAN-CHIA FU, 1959
NÜ-TIEN-YÜAN, 1959
PAO-CH'UAN, 1961
HO CHU P'EI, 1962
SHEN JUAN, 1963 (play, Divine Fists)
CH'U-K-'OU CH'ENG-CHANG, 1964
Two Writers and the Cultural Revolution: Lao She and Chen Jo-hsi, 1980
Crescent Moon and Other Stories, 1985
Mr. Ma & Son: A Sojourn in London, 1991
Blades of Grass: The Stories of Lao She, 1999 (trans. by William A. Lyell and Sarah Wei-ming Chen)
4. 急需一些关于老舍的资料，一些用英语写的短句，很急啊
Lao She (Chinese: 老舍; Pinyin: Lǎo Shě, February 3, 1899 – August 24, 1966) was a noted Chinese writer. A novelist and dramatist, he was one of the most significant figures of 20th century Chinese literature, and is perhaps best known for his novel Camel Xiangzi or Rickshaw Boy (骆驼祥子) and the play Teahouse (茶馆). He was of Manchu ethnicity.
He was born Shū Qìngchūn (舒庆春) in Beijing, to a poor family of the Sūmuru clan belonging to the Red Banner. In 1913, he was admitted to the Beijing Normal Third High School (currently Beijing Third High School), but had to leave after several months because of financial difficulties. In the same year, he was accepted into the Beijing Institute for Ecation, where he graated in 1918.
Between 1918 and 1924 he was involved as administrator and faculty member at a number of primary and secondary schools in Beijing and Tianjin. He was highly influenced by the May Fourth Movement (1919). He stated, "[The] May Fourth [Movement] gave me a new spirit and a new literary language. I am grateful to [The] May Fourth [Movement], as it allowed me to become a writer."
He went on to serve as lecturer in the Chinese section of the (then) School of Oriental Studies (now the School of Oriental and African Studies) at the University of London from 1924 to 1929. During his time in London, he absorbed a great deal of English literature and began his own writing. His later novel 二马 (Ma and Son) drew on these experiences.
In the summer of 1929, he left Britain for Singapore, teaching at the Chinese High School (华侨中学). Between his return to China in the spring of 1930 until 1937, he taught at several universities, including Cheeloo University (齐鲁大学) and Shandong University (Qing).
His first important novel, Luotuo Xiangzi (骆驼祥子, "Camel Xiangzi," widely known in the West as "Rickshaw Boy" or "Rickshaw"), was published in 1936. It describes the tragic life of a rickshaw puller in Beijing of the 1920s and is considered to be a classic of modern Chinese literature. The English version Rickshaw Boy became a US bestseller in 1945; it was an unauthorized translation that added a bowdlerized happy ending to the story. In 1982, the original version was made into a film of the same title.
During World War II, Lao She also made noted contributions as a leader of anti-Japanese writers in China. He became the vice chairman of the Union of Writers after 1949. After the establishment of the PRC, his writing fell largely in line with state ideology, whereas before it had been broadly critical and satirical.
Like thousands of other intellectuals in China, he experienced mistreatment in the Cultural Revolution of the mid-1960s. Red Guards of the Cultural Revolution had attacked him as a counterrevolutionary. They paraded him through the streets and beat him in public. Greatly humiliated both mentally and physically, he committed suicide by drowning himself in a Beijing lake in 1966. His relatives were accused of implication in his "crimes" but continued to rescue his manuscripts after his death, hiding them in coal piles and a chimney and moving them from house to house.
His other important works include Si Shi Tong Tang (四世同堂, "Four Generations under One Roof" 1944–1950), a novel describing the life of the Chinese people ring the Japanese Occupation; Cat Country (猫城记) a satire which is sometimes seen as the first important Chinese science fiction novel, Cha Guan (茶馆, "Teahouse"), a play written in 1957; and Lao Zhang de Zhexue (老张的哲学, "The Philosophy of Old Zhang"), his first published novel, written in London (1926).
The Laoshe Tea House (老舍茶馆), a popular tourist attraction in Beijing that opened in 1988 and features regular performances of traditional music, is named for Lao She.[1]
He had four children, one son and three daughters.
5. 跪求！老舍英文简介！！！急！！！
老舍一生写了约计800余万字的作品。主要著作有：长篇小说《二马》、《猫城记》、《骆驼祥子》、《四世同堂》，中篇小说《月牙儿》，《我这一辈子》，短篇小说集《赶集》、《樱海集》，《蛤藻集》、《火车集》、《贫血集》，剧本《龙须沟》、《茶馆》，另有《老舍剧作全集》，《老舍散文集》、《老舍诗选》、《老舍文艺评论集》和《老舍文集》等。老舍以长篇小说和剧作著称于世。他的作品大都取材于市民生活，为中国现代文学开拓了重要的题材领域。
Lao She wrote a life of approximately 800 million words of the works. His major works include: full-length novel, "Ma II" and "Cat City", "Rickshaw Boy" and "four generations," novella "Crescent Moon" and "my whole life," a short story collection "fair" and " Ying-Hai "and" clam-algae "and" train "and" anemic "and the script of" Long Xugou "and" Tea House ", and" The Complete Works of Lao She plays "," Lao She's essays, "" Lao She's Selected Poems "," Lao She Literary Comments Set "and" Collected Works of Lao She. " Lao She's novels and plays in the world, said. Most of his works based on the public life of modern Chinese literature to open up an important theme in the field.
6. 用英语介绍名人老舍
otted sparsely with houses, and reater part of the year. The
7. 用英语介绍老舍的作品济南的冬天三十字左右
Winter in Ji’nan
Lao She
For someone like me who is used to living in Beiping, a winter without any wind is a bit of a miracle. Well, one never hears any whistling winter winds in Ji’nan. For someone like me who has just returned from London, sunshine in the winter seems quite unusual. Well, Ji’nan has bright sunny winter weather. I know that in tropical regions, the blazing sun and the perpetual harsh glare can be intimidating, but here in north China, a mild sunny winter season is a boon that makes Ji’nan a very special place indeed.
But there is more than just sunshine. Close your eyes and picture to yourself: an ancient town, with mountains and lakes, dozing in the sunlight, warm and comfortable, waiting for the spring breezes to blow it awake. Doesn’t that sound idyllic? Low hills practically encircle Ji’nan, leaving just one small dip on the north side. In the winter, they are especially endearing, as if cradling the town and murmuring to it. “Don’t worry, it’s warm and safe here.” And it’s a fact that the people of Ji’nan seem to smile throughout the cold season. All they have to do is to see those hills to feel secure and protected. Looking up and around, they say to themselves. “Maybe spring will come tomorrow. It’s so mild, maybe tonight the grass on the hills will sprout.” And even if this is just daydreaming, they don’t really mind, because with this kindly winter why wish for more?”
A light snow makes the scene even prettier. Look at the short dark pine tress crowned with white nurse caps. Or the line of white etching the hilltops like a silver hemline on the azure sky. Or the hillsides, patchily sted so that in some places the grass shows through, clothing the slopes in a wavy pattern of tan and pale stripes. As one gazes, these seem to shift in the breeze as if baring the hill for a better look at its lovely shape. As the sun sets, the golden rays slant on to the light snow that suddenly blushes a shy pink. Just a light snowfall, nothing heavier, turns those low hills into real beauties.
Ji’nan is an ancient town with cramped and narrow streets, but surrounded by wide open spaces. Villages dot the slopes, their cottage roofs sted with snow. Oh yes, this is a traditional ink and wash painting and probably one by a Tang Dynasty master too.
As for the lakes and ponds, they don’t freeze over, but even give off wisps of warm vapour. The water weeds remain bright green as if showing off colour stored up over the year, and the clearer the weather the greener they glow. Anyway, how can the water freeze over when all those weeping willows want to see their reflections? As you raise your eyes slowly from the transparent depths and look up graally to the sky, everything is so clear and bright and blue, like a giant hollow block of crystal, in which are encased red roofs, tan hills and little copses, like the design on a carpet. This is Ji’nan in the winter.
8. 关于老舍的英文资料
Chinese playwright and author of humorous, satiric novels and short stories. Lao She is perhaps best known for his story LO-T'O HSIANG-TZU (1936, Rickshaw), a twentieth-century classic. An unauthorized and bowdlerized English translation, Rickshaw Boy, with a happy ending, appeared in 1945 and became a U.S. bestseller.
"The person we want to introce is Hsing Tzu, not Camel Hsiang Tzu, because "Camel is only a nickname. We'll just say Hsiang Tzu for now, having indicated that there is a connection between Camel and Hsiang Tzu." (from Rickshaw)
Shu Quingchun (Lao She) was born Shu She-yü of Manchu descent in Beijing. His father, who was a guard soldier, died in a street battle ring the 1900 Boxer uprising. To support her family and Lao Shê's private tutoring, his mother did laundry. "During my childhood," Lao She has later said, "I didn't need to hear stories about evil ogres eating children and so forth; the foreign devils my mother told me about were more barbaric and cruel than any fairy tale ogre with a huge mouth and great fangs. And fairy tales are only fairy tales, whereas my mother's stories were 100 percent factual, and they directly affected our whole family." (Lao Shê in Modern Chinese Writers, ed. by Helmut Martin and Jeffrey Kinkley, 1992)
Fatherless since early childhood, Lao She worked his way through Peking Teacher's College. After graation he supported himself and his mother through a series of teaching and administrative posts. He served as a principal of an elementary school at the age of 17, and later he was a district supervisor. Lao She spent the years from 1924 to 1929 in London, where he taught Chinese at the School of Oriental and African Studies. By reading amongst other things the novels of Charles Dickens, Lao She improved his English, and decided to start his first novel.
In 1930 Lao She returned to China and continued to write and teach Chinese at Qilu and Shadong Universities. MAO CH'ENG CHI (1933, Cat Country) was a bitter satire about Chinese society. In NIU T'IEN-TZ'U CHUAN (1934, Heavensent), partly modelled on Fielding's Tom Jones, Lao She turned again to humor. He reversed his early indivialist theme and stressed the futility of the indivial's struggle against society as a whole. In Rickshaw Boy Lao She traces the degradation and ruin of an instrious Peking rickshaw puller, a peasant drawn to the city. To earn his living, he pulls a rented rickshaw from dawn till dark, enjoys briefly the status of owner-operator, and finally dies on a snowy night. Evan King's translation published in 1945 invented new characters and changed the ending.
The outbreak of the second Sino-Japanese War (1937-45) radically altered Lao She's views. Between the years 1937 and 1945 he wrote a number of plays, worked as a propagandist, and headed the All-China Anti-Japanese Writers Federation. After World War II Lao She published a gigantic novel in three parts, SSU-SHIH T'UNG-T'ANG (abridged translation The Yellow Storm). It dealt with life in Peking ring the Japanese occupation of Manchuria. Between the years 1946 and 1949 Lao She lived in the United States on a cultural grant at the invitation of the Department of State. When the People's Republic was established in 1949, Lao She returned to China.
Among Lao Shê's most famous stories is 'Crescent Moon', written in the early stage of his creative life. It depicts the miserable life of a mother and daughter and their deterioration into prostitution. "I used to picture an ideal life, and it would be like a dream," the daughter thinks. "But then, as cruel reality again closed in on me, the dream would quickly pass, and I would feel worse than ever. This world is no dream - it's a living hell. " (from 'Crescent Moon')
Lao She was a member of the Cultural and Ecational Committee in the Government Administration Council, a deputy to the National People's Congress, a member of the Standing Committee of the Chinese People's Political Consultative Conference, vice-chairman of the All-China Federation of Literature and Art and vice-chairman of the Union of Chinese Writers as well as chairman of the Beijing Federation of Literature and Art. He was named a 'People's Artist' and a 'Great Master of Language'. His plays, such as LUNG HSÜ-KOU (1951, Dragon Beard Ditch), became ideologically didactic, and did not reach the level of his former work. SHEN JUAN written in 1960, on the sixtieth anniversary of the Boxer uprising, was a four-act play about the Boxers. Lao She emphasized the anti-imperialistic zeal of the Boxers and the burning and killing carried out by the allied powers. During the Cultural Revolution, Lao She was publicly denounced and criticized, as a number of other writers and intellectuals. On October 24, 1966, Lao She was murdered or driven to suicide. His last novel, The Drum Singers (1952), was first published in English in the United States.
Since the fall of Chiang Ch'ing, guiding hand of the Cultural Revolution, in 1971, Lao She's works have been republished. In 1979, he was posthumously "rehabilitated" by the Communist Party. Several of his stories have been made into films, including This Life of Mine (1950, dir. by Shi Hui), Dragon Beard Ditch (1952, dir. by Xian Qun), Rickshaw Boy (1982, dir. by Zifeng Ling), The Teahouse (1982, dir. by Xie Tian), The Crescent Moon (1986, dir. by Huo Zhuang), The Drum Singers (1987, dir. by Tian Zhuangzhuang ), and The Divorce. Tian Zhuangzhuang's film version of The Drum Singers (1987) was mostly shot on location in Sichuan.
Lao She's most frequently performed plays is CHAGUAN (Teahouse), which was written in 1957. The events are set in the Beijing teahouse of Wang Lifa ring three different periods: 1898 under the empire, the 1910s under the warlords and around 1945 after WW II. "In the teahouses one could hear the most absurd stories," Lao She writes of the scene set in 1898, "such as how a in a certain place a huge spider had turned into a demon and was then struck by lightning. One could also come in contact with the strangest of views; for example, that foreign troops could be prevented from landing by building a Great Wall along the sea coast." Lao She follows the lives of Wang and his customers. Ambivalently Wang and his friends demonstate the failure of their lives towards the end by a mock funeral, welcoming the new society. The teahouse is requisitioned as a club and Wang is offered a job as doorman - however, he has already hanged himself. - The Beijing People's Art Theatre performed the play in 1980 in West Germany and France ring the three-hundredth anniversary of the Comédie-Française.
For further reading: Lao She, China's Master Storyteller by Britt Towery, et al (1999); Encyclopedia of World Literature in the 20th Century, vol. 3, ed. by Steven R. Serafin (1999); Merriam-Webster's Encyclopedia of Literature (1995); Fictional Realism in Twentieth Century China: Mao Dun, Lao She, Shen Congwen by T. Wang (1992); McGraw-Hill Encyclopedia of World Drama, ed. by Stanley Hochman (1984); Two Writers and the Cultural Revolution: Lao She and Chen Jo-hsi, ed. by G.Kao (1980); Lao She and the Chinese Revolution by R. Vohra (1974); The Evolution of a Modern Chinese Writer: An Analysis of Lao She's Fiction, with Biographical and Bibliographical Appendices by Z. Slupski (1966)
Selected works:
CHAO TZU-YÜEH, 1927
LAO CHANG TI CHÊ-HSÜEH, 1928
ERH MA, 1929 - Ma and Son
HSIAO-P'O THE SHENG-JIH, 1931
MAO CH'ENG CHI, 1932 - Cat Country (trans. by William A. Lyell)
LI HUN, 1933 - The Quest for Love of Lao Lee
MAO-CH'ENG CHI, 1933
KAN-CHI, 1934
NIU T'IE-TZ'U CHUAN, 1934 - Heavensent (trans. by Xiong Deni)
YING-HAI-CHI,1935
LUOTUO XIANGZI / LO-TO HSIANG TZU, 1936 - Rickshaw Boy / Camel Xiangzi (1945, unauthorized and with a happy ending; Rickshaw: the novel Lo-to Hsiang Tzu, trans. by Jean M. James) - Riksapoika (suom., tekijänimellä Lau Shaw) - film 1982, dir. by Zifeng Ling, starring Fengyi Zhang, Gaowa Siqin
KO-TSAO-CHI, 1936
LO-T'O HSIANG-TZU, 1938
LAONIU P'O-CH'E, 1939
CHIEN-PEI 'PIEN, 1940
KUO-CHIA SHIH-SHANG, 1940 (with Sung Chih-ti)
HUO-CH'E-CHI, 1941
WEN PO-SHIH, 1941
KUEI-CH-Ü-LAI HSI, 1943
TS'AN-WU, 1943
MIEN-TZU WEN-T'I, 1943
CHUNG-LIEH T'U, 1943
WANG-CHIA CHEN, 1943
CHANG TZU-CHUNG, 1943
TA-TI LUNG-SHE, 1943
T'AU-LI CH'UN-FENG, 1943
SHEI NSIEN TAO-LE CH'UNG'ING, 1943
HUOTSANG, 1944
Ricshaw Boy, 1945 (unauthorized translation with happy ending)
TUNG-HAI PA-SHAN-CHI, 1946
SSU-SHIH T'UNG-T'ANG, 1946-51 - The Yellow Storm (trilogy); first part HUANG-HUO (1946), second part T'OU-SHENG (1946), third part CHI-HUANG (1950-51)
WEI-SHEN-CHI, 1947
FANG CHEN-CHU, 1950
LUNG-HSÜ-KOU, 1953 - Dragon Beard Ditch - film 1952, dir. by Xian Qun, starring Yu Shi, Yu Lan, Zhang Fa
PIEN MI-HSIN, 1951
The Drum Singers, 1952 - film: Folk Artists, a.k.a. The Street Players (Gushu Yiren), 1987, dir. by Tian Zhuangzhuang
CH-UN-HUA CH'IU-SHIH, 1953
HO KUNG-JEN T'UNG-CHIH-MEN T'AN HSIEH-TSO, 1954
WU-MING KAO-TI YU-LE MING, 1954
SHIH-WU KUAN, 1956
HSI-WANG CH'ANG-AN, 1956
CHAGUAN, 1957 - Teahouse (trans. by John Howard-Gibbon) - film 1982, dir. by Xie Tian
FUHSING-CHI, 1958
HUNG TA-YÜ AN, 1958
CH'ÜAN-CHIA FU, 1959
NÜ-TIEN-YÜAN, 1959
PAO-CH'UAN, 1961
HO CHU P'EI, 1962
SHEN JUAN, 1963 (play, Divine Fists)
CH'U-K-'OU CH'ENG-CHANG, 1964
Two Writers and the Cultural Revolution: Lao She and Chen Jo-hsi, 1980
Crescent Moon and Other Stories, 1985
Mr. Ma & Son: A Sojourn in London, 1991
Blades of Grass: The Stories of Lao She, 1999 (trans. by William A. Lyell and Sarah Wei-ming Chen)
9. 介绍老舍的英语作文70词
老舍英文简介加中文翻译
英文：
ShuQingChun,word to modern Chinese novelist,shebna,writers,playwright.Lao she's life,always devote themselves to the job,he is worthy of the great "model worker" and published a large number of literary works,affect later won the title of "people's artist".
中文：
舒庆春,字舍予,中国现代小说家、文学家、戏剧家.老舍的一生,总是在忘我地工作,他是文艺界当之无愧的“劳动模范”,发表了大量影响后人的文学作品,获得“人民艺术家”的称号.
10. 求一篇英文版老舍生平简介
Lao Shê (1899-1966) - also Lao She - pseudonym of Shu Sheyou, original name Shu Qingchun. Chinese playwright and author of humorous, satiric novels and short stories.Shu Quingchun (Lao She) was born Shu She-yü of Manchu descent in Beijing.Lao She's most frequently performed plays is CHAGUAN (Teahouse), which was written in 1957.