shēng píng
lú bù lǎng zài fǎ guó shàng nuò màn dǐ de lǔ 'áng chū shēng， fù qīn shì zào chuán chǎng lǎo bǎn， mǔ qīn shì yì dà lì rén， jiā jìng xiāng dāng fù yù， jiā zhōng yòu yī gè zǐ mèi héng qiáo jí tè · lú bù lǎng。 tā niǎn zhuǎn duō guó dú shū， hòu lái bèi fǎ lǜ xué xiào tuì xué， yú shì tā yí jū bā lí， bìng kāi shǐ xiě fàn zuì xiǎo shuō yǔ cháng piān de chún wén xué xiǎo shuō。 qí xiě zuò mó shì chéng xí gǔ sī tǎ fū · fú lóu bài yǔ jū yī · dé · mò bó sāng 'ér zài wén tán shàng dé dào liǎo kěn dìng， dàn què xiāo shòu bù shùn。
chéng míng zuò
1905 nián， lú bù lǎng zài dān rèn zá zhì《 wǒ shénme dōuzhī dào》（ JeSaisTout） biān ji de péng yǒu pí 'āi 'ěr · lā fěi tè（ PierreLaffitte） de bǎi bān yāo gǎo xià， xīn bù gān qíng bù yuè de xiě xià liǎo yī bù zá zhì liánzǎi xiǎo shuō， zhè bù zuò pǐn jiù shì《 yà sēn · luó píng bèi bǔ jì》， ràng míng wén xiá 'ěr de guài dào shēn shì yà sēn · luó píng chū cì dēng chǎng jiù bèi sòng jìn dà láo。 zhè bù zuò pǐn cóng 1905 nián 7 yuè 15 rì kāi shǐ liánzǎi， méi xiǎng dào zào chéng liǎo jù dà huí xiǎng bìng dé dào kōng qián de chéng gōng， ràng lú bù lǎng míng lì shuāng shōu。 zhī hòu， lú bù lǎng zǒng gòng xiě xià 21 bù yà sēn · luó píng de xì liè xiǎo shuō（ bù fèn wéi duǎn piān gù shì de wén jí）。
shè jì lái yuán
yà sēn · luó píng yī jiǎo de shè jì lái yuán， jù tuī cè shì lái zì céng jīng yú 1905 nián 3 yuè dēng shàng bào zhǐ tóu bǎn de fēi fǎ fèn zǐ mǎ lǐ wū sī · yǎ gè， yě kě néng shì cān kǎo zì 'ào kè tǎ fū · mǐ 'ěr bō de zuò pǐn《 Les21joursd'unneurasthénique》（ 1901） lǐ de yī wèi shēn shì guài dào 'ā dì 'ěr · lè bó（ ArthurLebeau）， huò shì mǐ 'ěr bō suǒ zuò de lìng yī bù xǐ jù《 Scrupules》（ 1902） lǐ de shēn shì guài dào。 suī rán yīng guó zuò jiā 'è 'ēn sī tè · wēi lián sī · hé nǔ gé zài 1899 nián chuàng zào chū lìng yī gè guài dào shēn shì héng yà sè · lāi fó shì， dàn tuī cè lú bù lǎng méi yòu kàn guò。
yàn juàn
1907 nián， jiè yóu luó píng xì liè gù shì de chéng gōng， lú bù lǎng zhōng yú kāi shǐ quán zhí zhuàn xiě luó píng de gù shì。 rán 'ér， lú bù lǎng yě fàn liǎo hé kē nán · dào 'ěr xiāng tóng de máo bìng， yīn wéi luó píng chéng gōng de yīn yǐng， zhē bì liǎo tā duì chún wén xué xiǎo shuō yǔ fàn zuì xiǎo shuō de yě xīn， suǒ yǐ tā kāi shǐ duì luó píng zhè gè juésè gǎn dào kùn jiǒng， ér qǐ tú zài xì liè zuò《 813 zhī mí》 lǐ ràng luó píng zì shā。 cǐ wài， lú bù lǎng běn rén yě shuō guò： ‘ luó píng bù shì wǒ de yǐng zǐ， wǒ cái shì luó píng de yǐng zǐ。 ’ chōng fèn dào chū tā nèi xīn de wú nài。 ér zài lú bù lǎng de wǎn nián lǐ yòu céng shuō guò：‘ yǔ luó píng xiāng yù shí zài shì yīcháng yì wài。 yào shuō zhè shì bù shì chǎng xìng yùn de yì wài？ nà kě jiù bù dé 'ér zhī liǎo。’。 hǎo jǐ cì， lú bù lǎng yě cháng shì chuàng zào qí tā de juésè， bǐ rú sī jiā zhēn tàn jí mǔ · bā nèi tè（ JimBarnett）， dàn zuì zhōng zhè gè juésè hái shì bèi bìng zuò luó píng de huà shēn。 lú bù lǎng yī zhí zhuàn xiě luó píng de mào xiǎn shǐ， yī zhí dào 1930 nián dài。
guài dào yǔ míng zhēn tàn
yà sēn · luó píng de xì liè zuò chū qī， bù shí yòu fǎng fú 'ěr mó sī zuò， ràng chuán qí dà zhēn tàn xiē luò kè · fú 'ěr mó sī de dēng chǎng（ rú《 qí yán chéng》 jí《 guài dào yǔ míng zhēn tàn》）； ér zài zhè xiē zuò pǐn lǐ， guài dào yǔ dà zhēn tàn zǒng shì nǐ lái wǒ wǎng， shā dé liǎng bài jù shāng。 zhè liǎng gè chuán qí juésè de duì jué quán bù chū zì yú lú bù lǎng zhī shǒu， duō shǎo yǐn lái fú 'ěr mó sī mí de bù mǎn。 suī rán fú shì de zuò zhě kē nán · dào 'ěr méi yòu qiáng liè de kàng yì， dào 'ěr jué shì hái shì rěn bù zhù zhǐ chū zhè shì yī zhǒng bù dào dé de xíng wéi。 lú bù lǎng hòu lái de zuò pǐn cái kāi shǐ shōu liǎn， bìng jiāng yuán běn shè dìng chéng fú shì de juésè， gǎi yòng qí tā míng zì。
qí tā xiě zuò
chú liǎo qián miàn jiè shào dào de zuò pǐn， lú bù lǎng lìng wài hái yòu liǎng bù zhòng yào de kē huàn xiǎo shuō： 1919 nián de《 LesTroisYeux》 yǔ 1920 nián de《 LeFormidableEvènement》。 qián zhě xù shù yī gè kē xué jiā yǔ sān yǎn jīn xīng rén zuò yǐng xiàng lián xì； zài dì 'èr bù de gù shì lǐ fā shēng liǎo yīcháng dà dì zhèn， zhī hòu zài yīng guó yǔ fǎ guó zhī jiān shēng qǐ liǎo yī kuài xīn dà lù。
yí yán
lú bù lǎng de wén xué chéng jiù huò dé liǎo fǎ guó róng yù jūn tuán xūn zhāng de jiǎng lì。 ér tā yě yú 1941 nián sǐ yú pèi pí ní 'áng。 zài tā qù shì zhī qián jǐ zhōu céng shuō liǎo yī jù qí miào de huà：‘ luó píng chū xiàn zài wǒ shēn bàng liǎo， kuài zǔ zhǐ tā。’； yóu yú huà zhōng nèi róng xiàng yòu rén yù jiā hài lú bù lǎng， yú shì jǐng fāng pài chū rén mǎ， měi tiān 24 xiǎo shí jiè hù， zhí dào tā shòu zhōng zhèng qǐn。
zé lù zhù zuò
yà sēn · luó píng xì liè zuò pǐn
? yà sēn · luó píng bèi bǔ jì》（ shēn shì guài dào）（ ArsèneLupin,gentleman-cambrioleur,1905-1907）
? guài dào yǔ míng zhēn tàn》（ ArsèneLupincontreHerlockSholmès,1906-1908）
?ArsèneLupin/Uneaventured'ArsèneLupin》 héng xì jù， xiǎo shuō huà（ 1909）
? qí yán chéng》（ kòngxīn yán zhù）（ L'aiguillecreuse， 1909）
?813 zhī mí》（ 813,1910）
? shuǐ jīng píngsāi》（ Lebouchondecristal,1912）
? luó píng de gào bái》（ Lesconfidencesd'ArsèneLupin,1911-1913）
? shén mì hēi yī rén》（ L'éclatd'obus,1915）
? jīn sān jiǎo》（ Letriangled'or,1917）
? guān cái dǎo》（ L'îleauxtrentecercueils,1919）
?Leretourd'ArsèneLupin》 héng xì jù（ 1920）
? hǔ yá》（ Lesdentsdutigre,1920）
? bā dà qí 'àn》（ Leshuitcoupsdel'horloge,1923）
? luó píng yǔ mó nǚ》（ LacomtessedeCagliostro,1924）
? bì yǎn shàonǚ》（ Lademoiselleauxyeuxverts,1927）
? chuān yáng pí de rén》（ L'hommealapeaudebique,1927）
? míng zhēn tàn luó píng》（ L'agenceBarnettetCie,1927-1928）
? qí guài de wū zǐ》（ Lademeuremystérieuse,1928）
? gǔ bǎo jīng hún》（ Labarre-y-va,1930）
? lǜ bǎo shí zhī mí》（ Lescabochond'emeraude,1930）
? liǎng zhǒng wēi xiào de nǚ rén》（ yōu líng shā shǒu）（ Lafemmeauxdeuxsourires,1932）
? shén tàn yǔ luó píng》（ Victor,delabrigademondaine,1934）
? mó nǚ de fù chóu》（ LaCagliostrosevenge,1935）
? luó píng de cái fù》（ Lesmilliardsd'ArsèneLupin,1939）
? luó píng de zuì hòu zhī liàn》（ Ledernieramourd'ArsèneLupin,1939 héng wèi fā biǎo）
? bái sè qiū mǔ dān de mì mì》
? shuāng miàn rén》
? luó píng yǔ shā rén mó wáng》
? qiān jūn yī fā》
? xiāo shī de wáng guān》
? hēi sè de xī xuè biān fú》
? luó píng de dà shī bài》
? huàn yǐng shā shǒu》
? yāo mó yǔ nǚ zhēn tàn》
qí tā zuò pǐn
?Unefemme》（ 1893）
?ArmelleetClaude》（ 1897）
?Voicidesailes》（ 1898）
?LesLèvresjointes》（ 1899）
?L'Enthousiasme》（ 1901）
?Unvilaincouple》（ 1901）
?Gueulerouge》（ 1904）
?80chevaux》（ 1904）
?LaPitié,piècedethéâtre》 (1906）
?L'Aiguillecreuse》（ TheHollowNeedle)(1909）
?LaFrontière》（ 1911）
?LesTroisYeux》（ 1919）
?LaRobed’ écaillerose》（ 1920）
?LeFormidableÉvénement》（ 1920）
?LeCerclerouge》（ 1922）
?Dorothée,danseusedecorde》（ nǚ zhēn tàn zhī mí）（ 1923）
?LaVieextravagantedeBalthazar》（ 1925）
?LePrincedeJéricho》（ zhēn tàn yǔ hǎi dào wáng）（ 1930）
?LesClefsmystérieuses》（ 1932）
?LaForêtdesaventures》（ 1933）
?LeChapeletrouge》（ 1934）
?L'Imagedelafemmenue》（ 1934）
?LeScandaledugazonbleu》（ 1935）
?Deminuitàseptheures》（ 1937）
Biography
Leblanc was born in Rouen, Normandy. After studying in several countries and dropping out of law school, he settled in Paris and began to write fiction, both short crime stories and longer novels; his novels, heavily influenced by writers like Gustave Flaubert and Guy de Maupassant, were critically admired but met with little commercial success.
Leblanc was largely considered little more than a writer of short stories for various French periodicals when the first Arsène Lupin story appeared in a series of short stories serialized in the magazine Je Sais Tout, starting in No. 6, dated 15 July 1905. Clearly created at editorial request under the influence of, and in reaction to, the wildly successful Sherlock Holmes stories, the roguish and glamorous Lupin was a surprise success and Leblanc's fame and fortune beckoned. In total, Leblanc went on to write twenty-one Lupin novels or collections of short stories.
The character of Lupin might have been based by Leblanc on French anarchist Marius Jacob, whose trial made headlines in March 1905; it is also possible that Leblanc had also read Octave Mirbeau's Les 21 jours d'un neurasthénique (1901), which features a gentleman thief named Arthur Lebeau, and seen Octave Mirbeau's comedy Scrupules (1902), whose main character is a gentleman thief. It was not influenced by E. W. Hornung's gentleman thief, A.J. Raffles, created in 1899, whom Leblanc had not read.
Some lupinophiles/lupinologists/lupinomaniacs disturbingly but somewhat convincingly argue (André Comte-Sponville, François George in Preuves de l'existence d'Arsène Lupin) that Lupin really existed and that Leblanc was thus his mere historiographer. In this respect they resemble many fans of Arthur Conan Doyle's Sherlock Holmes.
Leblancs house in Étretat, today the museum "Le clos Arsène Lupin".
By 1907 Leblanc had graduated to writing full-length Lupin novels, and the reviews and sales were so good that Leblanc effectively dedicated the rest of his career to working on the Lupin stories. Like Conan Doyle, who often appeared embarrassed or hindered by the success of Sherlock Holmes and seemed to regard his success in the field of crime fiction as a detraction from his more "respectable" literary ambitions, Leblanc also appeared to have resented Lupin's success. Several times, he tried to create other characters, such as private eye Jim Barnett, but eventually merged them with Lupin. He continued to pen Lupin tales well into the 1930s.
Leblanc also wrote two notable science fiction novels: Les Trois Yeux (1919) in which a scientist makes televisual contact with three-eyed Venusians, and Le Formidable Evènement (1920), in which an earthquake creates a new landmass between England and France
Leblanc was awarded the Légion d'Honneur for his services to literature, and died in Perpignan in 1941. He was buried in the Montparnasse Cemetery. Georgette Leblanc was his sister.
Influence
The character Arsène Lupin III, protagonist of the Japanese manga Lupin III beginning in 1967 was written as the grandson of Arsène Lupin, though without permission from Leblanc's estate. This was later the source of a lawsuit, though the copyright on Leblanc's work has since expired. When the anime version was broadcast in France, the character was renamed Edgar, le détective cambrioleur ("Edgar, the Burglar Detective"). The authors of the various Lupin III properties drew on Leblanc's novels as inspiration, notably the film The Castle of Cagliostro was loosely based on La Comtesse de Cagliostro (The Countess of Cagliostro).
Selected bibliography
Une femme (1893)
Armelle et Claude (1897)
Voici des ailes (1898)
Les Lèvres jointes (1899)
L’Enthousiasme (1901)
Un vilain couple (1901)
Gueule rouge (1904)
80 chevaux (1904)
La Pitié, Play (1906)
L’Aiguille creuse (The Hollow Needle) (1909)
813 (1910)
La Frontière (1911)
Les Trois Yeux (1919)
La Robe d’écaille rose (1920)
Le Formidable Événement (1920)
Le Cercle rouge (1922)
Dorothée, danseuse de corde (1923)
La Vie extravagante de Balthazar (1925)
Le Prince de Jéricho (1930)
Les Clefs mystérieuses (1932)
La Forêt des aventures (1933)
Le Chapelet rouge (1934)
L’Image de la femme nue (1934)
Le Scandale du gazon bleu (1935)
De minuit à sept heures (1937)