While Lu Xun is often celebrated as a pivotal figure in the establishment of literary reforms and the promotion of vernacular language in China, he was not the sole contributor to these movements. Lao She, whose 125th birth anniversary we marked last year, also played a crucial role.
Renowned as a novelist and dramatist, Lao She (1899-1966) is best known for his works "Camel Xiangzi," also known as "Rickshaw Boy," and the theatrical piece "Teahouse." He was of Manchu descent and wrote under the pen name Shu Qingchun.
Born into poverty in Beijing, Lao She faced significant challenges early in life, including the death of his father. Nonetheless, he persevered, eventually earning a degree from Peking Teacher's College. His career began as a principal at just 17, followed by various teaching and administrative roles that allowed him to support his mother. From 1924 to 1929, Lao She lived in London, teaching Chinese at the School of Oriental and African Studies. It was during this time, inspired by authors like Charles Dickens, that he began drafting his first novel.
After returning to China in 1931, Lao She continued to teach and write at several universities. Drawing inspiration from writers such as Henry Fielding, he integrated humor into his work, moving away from individualistic themes to examine the collective struggles against societal constraints.
Rickshaw Boy: A profound exploration of society
Lao She’s eighth and most famous novel, "Rickshaw Boy," chronicles the life of a Beijing rickshaw puller, showcasing the harsh realities faced by those at the bottom of the social ladder. The novel was serialized in the magazine "Cosmic Wind" starting in January 1937 and has since become a staple of Chinese literature. It tells the poignant story of "Camel" Xiangzi, a young boy who dreams of elevating his status through hard work.
Reflecting Lao She's profound sense of alienation and a yearning to connect with his nation, "Rickshaw Boy" depicts the tragic decline of its protagonist, who ultimately succumbs to despair on a snowy night. The narrative resonates as both a social commentary and a critique of individualism during a politically turbulent period in China, particularly marked by the struggles facing ethnic minorities like the Manchus.
The novel intricately explores the dynamic between humanity and machinery, alongside the impacts of economic circumstances on personal development. Xiangzi's journey from a hopeful, determined youth striving for independence to a disillusioned man trapped in a harsh reality serves as a commentary on the socio-political landscape of early 20th-century China.
A shift in perspective amidst war
The outbreak of the Sino-Japanese War (1937-1945) transformed Lao She’s worldview. During this period, he produced numerous plays and advocated against Japanese aggression, leading the All-China Anti-Japanese Writers Federation. He later spent a few years in the United States before returning to China after the establishment of the People's Republic in 1949.
Despite being celebrated as the "people's artist," Lao She's later years were marred by the tumultuous Cultural Revolution. His previous adoption of Christianity and connections to Western institutions rendered him a target during the political purges. Tragically, in August 1966, under immense pressure and humiliation, Lao She took his own life by drowning in Taiping Lake in Beijing.
Enduring influence and contemporary recognition
In 1999, a literary award was established in his honor by the Beijing Literature and Art Association, recognizing exemplary authors in the city. While he shares this distinction with other prominent figures such as Lu Xun and Mao Dun, Lao She’s reputation has fluctuated over the years. Initially lauded upon his return to China, he later faced scrutiny for his cosmopolitan background and religious conversion during the Cultural Revolution.
Today, Lao She remains a vital figure in understanding the evolution of modern Chinese literature, noted for both his literary contributions and the profound societal struggles he depicted.
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*Freelance journalist
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