He is simple. There is only a desk, a chair and a bed in his study. This kind of study has two advantages: he can write with peace of mind and lie in bed with his eyes closed when he is tired. Perhaps only Mr. Lao She thinks so.
He is hardworking, and he likes to grow flowers, which everyone can be sure. Growing flowers is very hard. He and his wife Hu Jieqing have to move more than 1 pots of flowers in the yard to the house when the rain comes, and when the sky is clear, they have to move more than 1 pots of flowers back to the yard. In this case, he can accept it. He must be hardworking.
He is hospitable. When the guests come, he treats them warmly. Although the handshake is gentle, it is very kind. Although the tea is poured slowly, it is very polite. When the guests come, he will entertain the guests with the wine he hides that he is usually reluctant to drink. How hospitable he is!
He is approachable. He helps blind artists to form a team, which gives them a way out of life. He helps ordinary people to solve the problem of sesame paste and let them eat delicious sesame paste noodles.
He loves life. He has many hobbies: hiding wine, raising flowers, raising cats, hiding paintings, boxing, drinking tea, calligraphy, painting, cross talk, and collecting antiques ...
He has so many excellent qualities, and we should learn more from them. In my mind, Mr. Lao She is immortal, and I often miss him deeply. Because, Mr. Lao She is a famous modern writer I met for the first time in my life. He is the only writer with the closest connection in my literary editing career. Lao She's death was the greatest writer who shocked me the most. When I was in high school in the early 195s, I was a classmate with Lao She's daughter. The headmaster is a Democrat. He specially invited Mr. Lao She to give a lecture to middle school students. The school used to be the capital yamen, and the lobby was the auditorium for lectures. I have read Camel Xiangzi before, and I can't help but imagine what Lao She would be like. He stepped into the high threshold, walked slowly onto the platform, with a round face, parted parts, wearing black-rimmed glasses, and walked over to greet the students, revealing shallow dimples, which made us feel warm and comfortable. I haven't seen the author of the work I read before, but it's a little unexpected to see it for the first time now. It turns out that writers are like this, just like ordinary parents, with no shelf, no pride, simplicity and kindness. But his manners, elegance and humor are obviously a scholar and a wise man. This is the person who attracts us, impresses us, delights us, inspires us and helps us to understand the reality and history more clearly. His kind expression and elegant temperament later became an important yardstick for me to understand each other when dealing with writers. Shortly after that, I signed up for the Chinese Department of Peking University in the college entrance examination, which actually had something to do with this rare opportunity. Mr. Lao She is a person who knows and leads the way for the people with his writing. A real writer should be a person who knows and leads the way for the people. In the mid-196s, I worked as an editor in People's Literature magazine for eight years and visited all modern writers in Beijing. But that was mostly general solicitation. Only this time, I invited Mr. Lao She to write the script of Camel Xiangzi in the new society, which lasted for two or three months, and I had the closest contact and the closest contact. The classic novel Camel Xiangzi has long been adapted into a drama by the famous director Mei Qian. This time is a new creation by Lao She, not a sequel to the original play. In 1957, the magazine Harvest, edited by Ba Jin, was founded and Lao She's famous drama Teahouse was launched, which made Chen Baichen, a playwright who was the new deputy editor of People's Literature, very envious. He hopes to organize a new play that keeps pace with Teahouse and is published in People's Literature. Later, due to the Great Leap Forward, there was a great famine, so it was inconvenient to interview and the plan was delayed. At the beginning of 1964, with the consent of Mr. Lao She, I contacted the Beijing Municipal Transportation Bureau and the Beijing People's Art Theatre separately, and both of them were warmly sponsored. One day during the Spring Festival that year, around Mr. Lao She's 65th birthday, I accompanied the leaders of Beijing Municipal Transportation Bureau and several cadres who pulled rickshaws to Dan Persimmon Yard to report to Mr. Lao She on the living conditions of tricycle workers since liberation. Lao She warmly received us. When it came to noon, he specially invited everyone to Cuihua Building to eat elbows. At that time, it was the most expensive dish in the most upscale restaurant. In order to get a deeper understanding of the camel Xiangzi in the new society, Lao She, accompanied by me and the cadres of the Transportation Bureau, went to Beijing Railway Station and other tricycle stations for interviews many times. In the simple wooden house, Lao She and the workers sat on a bench, laughing and talking at home. The workers scrambled to answer Lao She's question. Lao She listened carefully and made a brief record. After a period of time, Lao She wrote the first act of a new play, and took me and the actors in the arts, including Xiang Li who played Xiangzi, to his house and listen to him read the script. To tell the truth, I didn't hear the expected taste of Teahouse, and Xiang Li and others were silent. Lao She stroked the manuscript paper and couldn't help sighing: "Go down, but how can I write it?" Later, he lamented to me: "Nowadays, it is popular to shoot wild ducks (at that time, there was a drama" Don't forget "that matched the political task, and an important plot in the play was to shoot wild ducks), so we couldn't write this stuff." From then on, Lao She stopped writing, and he didn't let his pen be wrapped in the wind and rain with the struggle as the key link. And he himself, two years later, was caught in the crossfire of the unprecedented "cultural revolution" that destroyed humanity and exterminated humanity, and was beaten and humiliated. Ghosts are rampant and demons are dancing around. What's wrong with this world? On the shore of Taiping Lake, I thought all night. He became Qu Yuan in the 2th century for dignity, rectitude and awakening future generations. The "Cultural Revolution" forced a group of upright people to commit suicide, which made me most puzzled and saddened by Mr. Lao She. Among modern writers, he is the only master who has won the title of People's Artist. More than ten days after the founding of New China, he hurried back from overseas. As soon as he set foot on his native land, he said, "I can't help crying in my eyes." He once said: "I keep an eye on the society and always want my pen to catch up with the current trend." He loves the motherland, the people, the working masses and the social trends. Immediately after returning to China, he wrote Longxugou, praising the people's government and first improving the living conditions in slums. In order to match the situation, he wrote all kinds of impromptu scripts, regardless of whether they could be circulated. He promised to write a new edition of camel Xiangzi, not just to sing praises to society. At that time, the society drove him to the wall, who was most loyal to the new society. At that time, he was not known internationally. In 1968, Nobel Prize in Literature nominated him and voted in secret, and Lao She was the first choice. Mr. Lao She is China's and the world's, historical and future. Born in China and educated, you must know Lao She, read Camel Xiangzi and watch Teahouse. Mr. Wang's character articles are the cultural treasures of the Chinese nation. In people's minds, Lao She is immortal.