《 liǎng xiōng dì》 xiě de shì yī bǐ yí chǎn de zèng yǔ gěi yī gè píng jìng jiā tíng dài lái de fēng bō。 tā zài xīn lǐ fēn xī de zhēn shí hé shēn kè fāng miàn kān chēng yī jué。
《 rú sǐ yī bān qiáng》 de zhù rén gōng bèi 'ěr dān shì gè fù yòu de míng huà jiā, wǔ shí lái suì, shí jǐ nián lái 'ài zhe bèi zhàng fū lěng luò de piào liàng nǚ rén jí luó wǎ bó jué fū rén, bó jué fū rén yě hěn kàn dé zì jǐ yǔ huà jiā de qíng rén guān xì。 mò bó sāng zài shū zhōng tàn suǒ de shì zhōng lǎo nián rén bìng wèi shī qù liàn 'ài de dòng lì, zài tè shū de qíng jǐng xià bào fā chū de 'ài qíng lì liàng bù yà yú sǐ shén de lì liàng。
《 wǒ men de xīn》 yǐ fǎ guó shàng liú shè huì de shā lóng wéi miáo huì bèi jǐng, fǎn yìng liǎo nán zhù rén gōng mǎ lǐ 'ào 'ěr hé nǚ zhù rén gōng bǐ 'ěr nèi děng shàng liú shè huì nán nán nǚ nǚ de gǎn qíng shēng huó, kān chēng 'ài qíng xīn lǐ xiǎo shuō de jié zuò。
《 wǒ men de xīn》 yǐ fǎ guó shàng liú shè huì de shā lóng wéi miáo huì bèi jǐng, fǎn yìng liǎo nán zhù rén gōng mǎ lǐ 'ào 'ěr hé nǚ zhù rén gōng bǐ 'ěr nèi děng shàng liú shè huì nán nán nǚ nǚ de gǎn qíng shēng huó, kān chēng 'ài qíng xīn lǐ xiǎo shuō de jié zuò。
qíng rén zhī jiān de 'ài qíng zhēn de kě yǐ yǒng yuǎn bù biàn má? zhè yě xǔ shì yī gè yǒng yuǎn méi yòu dá 'àn de wèn tí ...
gǎn qíng zhè dōng xī, yòu yòu shuí néng kòng zhì? shuí yòu néng shuō dé qīng chǔ?
shí 'èr nián de 'ài qíng, céng jīng de chī chán . qiān guà . ài liàn . nà yàng de zhēn zhēn qièqiè, nà yàng měi, nà yàng xìng fú ... zǒu dào hòu lái, tā, què hái shì dí bù guò shùn jiān chuǎng rù de --- qīng chūn de yòu huò . huǒ yàn, tiào dòng zhe, tūn shì zhe nà xiē jì lù 'ài yǔ diǎn dī de xìn ...... yī tóng huà zuò huī jìn de hái yòu 'ān nī de xīn .
zài tā shēng mìng de jìn tóu, bàn zài chuáng qián de zhè gè nǚ rén, céng jīng shì tā zuì zhì 'ài de qíng rén . tā nà céng jīng nián qīng de shēng mìng, dài gěi guò tā wú xiàn de wēn nuǎn, ài qíng, xīn xǐ, qiān guà, chóu chàng ...
nà yī fèn zhēn zhì de gǎn qíng, tóng yàng yě shì tā de quán xīn fù chū, tā jiāng xīn dǐ zuì róu ruǎn de dì fāng dū zhuāng mǎn liǎo tā ..... ér jīn, qīng chūn bù zài de tā, yǐ bù zài shì, tā xīn lǐ de wéi yī .....
zhè yàng yī fèn jīng guò suì yuè chén diàn de qíng, yuán lái, yě huì suí zhe tā de měi mào xiāo shì 'ér xiāo wáng!
qīng tàn, nán rén de xīn 'ā!
chuāng wài, jǐ xǔ xì yǔ qiāo chuāng ......
tīng jiàn liǎo xīn suì .. xīn suì .. de shēng yīn, shì 'ān nī? hái shì zì jǐ?
gǎn qíng zhè dōng xī, yòu yòu shuí néng kòng zhì? shuí yòu néng shuō dé qīng chǔ?
shí 'èr nián de 'ài qíng, céng jīng de chī chán . qiān guà . ài liàn . nà yàng de zhēn zhēn qièqiè, nà yàng měi, nà yàng xìng fú ... zǒu dào hòu lái, tā, què hái shì dí bù guò shùn jiān chuǎng rù de --- qīng chūn de yòu huò . huǒ yàn, tiào dòng zhe, tūn shì zhe nà xiē jì lù 'ài yǔ diǎn dī de xìn ...... yī tóng huà zuò huī jìn de hái yòu 'ān nī de xīn .
zài tā shēng mìng de jìn tóu, bàn zài chuáng qián de zhè gè nǚ rén, céng jīng shì tā zuì zhì 'ài de qíng rén . tā nà céng jīng nián qīng de shēng mìng, dài gěi guò tā wú xiàn de wēn nuǎn, ài qíng, xīn xǐ, qiān guà, chóu chàng ...
nà yī fèn zhēn zhì de gǎn qíng, tóng yàng yě shì tā de quán xīn fù chū, tā jiāng xīn dǐ zuì róu ruǎn de dì fāng dū zhuāng mǎn liǎo tā ..... ér jīn, qīng chūn bù zài de tā, yǐ bù zài shì, tā xīn lǐ de wéi yī .....
zhè yàng yī fèn jīng guò suì yuè chén diàn de qíng, yuán lái, yě huì suí zhe tā de měi mào xiāo shì 'ér xiāo wáng!
qīng tàn, nán rén de xīn 'ā!
chuāng wài, jǐ xǔ xì yǔ qiāo chuāng ......
tīng jiàn liǎo xīn suì .. xīn suì .. de shēng yīn, shì 'ān nī? hái shì zì jǐ?
xiǎo shuō yǐ nǚ zhù rén gōng kè lì sī dì nà de 'ài qíng zāo yù wéi zhù xiàn, zhōng shí shēng dòng dì xù shù liǎo fēng jiàn guì zú jiē jí mòluò、 zī chǎn jiē jí xīng qǐ de xīn jiù jiāo tì guò chéng。 zuò zhě yùn yòng qīng kuài líng huó de bǐ fǎ, sù zào liǎo guì zú jiē jí、 zī chǎn jiē jí、 fǎ guó wài shěng fù yù nóng mín jí yī shēng děng xiān míng de rén wù xíng xiàng, duì rén wù de nèi xīn huó dòng jìn xíng xì zhì rù wēi de miáo shù, bìng jié hé rén wù de xīn lǐ biàn huà lái xiě jǐng shū qíng, cóng 'ér shǐ zhè xiē rén wù, jí shǐ shì cì yào rén wù, yě gè gè huó líng huó xiàn, shén xíng jiān bèi。
《 piào liàng péng yǒu》 shì mò bó sāng zuì zhòng yào hé zuì chéng gōng de xiǎo shuō。 yī shì tā jiē lù liǎo fǎ guó xīn wén jiè cāo zòng fǎ guó jīn róng shì yè、 zhì zào yú lùn、 shí xiàn dǎo gé yīn móu de hēi mù。 bào zhǐ zhè zhǒng gān yù zhèng zhì hé jīng jì shēng huó de xiàn xiàng, zài dāng shí de 'ōu zhōu jù yòu pǔ biàn xìng, kě shì zài wén xué zhōng què cóng lái méi yòu zuò jiā miáo xiě guò, kě jiàn mò bó sāng de dǎn shí, yīn cǐ tā zāo dào liǎo qiáng liè de gōng jié。 èr shì xiǎo shuō de máo tóu zhǐ xiàng liǎo bā shí nián dài chū fǎ guó de zhí mín dì zhèng cè, yóu qí zhēn duì fǎ guó duì tū ní sī de zhèng zhì、 jūn shì hé jīng jì de kòng zhì。 dāng shí, fǎ guó de yī xiē zhèng jiè rén wù cóng tū ní sī zhèng jú de biàn huàn yǐn qǐ de jiāo yì suǒ hángqíng de bō dòng zhōng dà fā hèngcái。 zhè yī nèi róng zài fǎ guó nǎi zhì 'ōu zhōu shí jiǔ shì jì de xiǎo shuō zhōng jīhū shì jué wú jǐn yòu de。 sān shì xiǎo shuō sù zào liǎo yī gè xiàn dài mào xiǎn jiā de diǎn xíng héng héng dù luò wǎ。 zhè zhǒng rén wù yǔ shí jiǔ shì jì qián qī de yě xīn jiā diǎn xíng jì yòu xiāng tóng zhī chù, yě yòu suǒ bù tóng。 xiāng tóng de shì tā mendōu yào wǎng shàng pá。 bù tóng de shì, dù luò wǎ lì yòng nǚ rén zuò wéi wǎng shàng pá de jiē tī, zuì zhōng chéng wéi cái fá。 chéng gōng de xiàn dài mào xiǎn jiā shì yǐ jīng jì guǎ tóu de miàn mù wéi qí tè zhēng de, dù luò wǎ jiù shì tā men de dài biǎo。 cóng shàng shù sān gè fāng miàn lái kàn, mò bó sāng duì zhèng zhì wèn tí de mǐn gǎn、 duì jīng jì shēng huó de dòng chá zhī shēn、 duì xīn chū xiàn de rén wù lèi xíng de bǎ wò dū xiǎn shì liǎo bù tóng fán xiǎng de cái néng。《 piào liàng péng yǒu》 bù kuì wéi yī bù yōu xiù de xiàn shí zhù yì xiǎo shuō, jí shǐ cóng shì jiè wén xué shǐ lái kàn, yě suàn dé shàng yī bù jié zuò。
Synopsis
The story chronicles Georges Duroy's corrupt rise to power from a poor ex-NCO to one of the most successful men in Paris, most of which he achieves by manipulating a series of powerful, intelligent, and wealthy mistresses.
The novel is set in Paris in the upper-middle class environment of the leading journalists of the newspaper La Vie Française and their friends. It tells the story of Georges Duroy, who has spent three years of military service in Algeria. After six months working as clerk in Paris, an encounter with his former comrade, Forestier, enables him to start a career as a journalist. From a reporter of minor events and soft news, he gradually climbs his way up to chief editor. Duroy initially owes his success to Forestier’s wife who helps him write his first articles and, when he later starts writing lead articles, she adds an edge and poignancy to them. At the same time, she uses her connections among leading politicians to provide him with behind the scenes information which allows him to become actively involved in politics. Duroy is also introduced to many politicians in Mme Forestier’s drawing-room. Duroy becomes the lover of Forestiers' friend Mme de Marelle, another influential woman. Duroy later tries to seduce Madeleine Forestier to get even with her husband, but she repulses Duroy’s sexual advances and offers that they become true friends without ulterior motives instead.
In a few months, Charles Forestier’s health deteriorates and he travels to the south of France to regain his health. Soon afterwards, Duroy receives a letter from Madeleine imploring him to come to join her and help her bear the last moments of her husband’s life. As Forestier dies, Duroy asks Madeleine to marry him. After a few weeks to consider, she agrees. Georges now signs his articles Du Roy in order to add prestige to his name. The married couple travel to Normandy, the region of Georges’s childhood, and meet his peasant parents. Finding the reality different than her romantic expectations, Madeleine feels very uncomfortable with his parents and so their stay with them is short. In the newspaper office, Duroy is ridiculed for having his articles written by his wife, just as the late Forestier had his articles written by her. His newspaper colleagues call him ‘Forestier’, which drives Georges mad and he suddenly becomes heavily jealous of Madeleine, insisting that she admit having been unfaithful to Forestier. However, she never admits that.
In order to suppress the stings of jealousy, Duroy starts an affair with Mme Walter, the wife of the owner of the newspaper. He especially enjoys the conquest as he is her first extramarital lover. Later on, he regrets the decision however, for he cannot get rid of her when he does not want her. Du Roy’s relations with his wife gets chillier and chillier and in Chapter Eight of Part Two he takes a police superintendent to come with him to a flat in which his wife is meeting a minister. They catch the two in the act of adultery, which was then a crime punishable by law.
In the last two chapters Du Roy’s ascent to power is further continued. Du Roy, now a single man, makes use of Susanne Walter's, his chief’s daughter’s, infatuation with him, and arranges an elopement with her. The parents then have no other choice but to grant their assent to the marriage. The last chapter shows Du Roy savouring his success at the wedding ceremony at which 'all those who figured prominently in society' were present. His thoughts, however, chiefly belong to Mme de Marelle who, when wishing him all the best, indicates that she has forgiven him for his new marriage and that their intimate meetings can be taken up again.
Symbols
There are a few symbols in the novel. The chief character’s name and nicknames are among them. The daughter of Mme. Marelle first calls him "Bel Ami" which continues to be the nickname used by the women he uses. Duroy starts to sign his articles Du Roy when he is about to marry Madeleine Forestier, ‘roi’ (the same pronunciation) meaning a king. Duroy thus supplants his former friend, the one who enabled his career in journalism in the first place. The articles he then writes with his wife’s help are considered as good as those produced (officially) by Charles Forestier but ‘more factual, more vigorous, more virile’. Seeing that Madeleine was the one who has cowritten the articles of both Charles and Georges, the latter is spitefully addressed ‘Forestier’ by his colleagues; however, fortunately for him, his affairs remain always hidden. Duroy’s moustache is another symbol of his sexual prowess: it is this that women are said to find impossible to resist about him. The painting Monsieur Louis Pascal by Henri de Toulouse-Lautrec is said to depict the character Duroy in Bel Ami.
Duroy's room at the beginning of the novel overlooks a train tunnel, and he watches the trains going in and out of the tunnel - little wonder he's always thinking about sex.
Form of the novel and comparison with Nana
The novel is composed of episodic chapters which frequently represent individual rungs of the social ladder that Duroy climbs. Thus one chapter is focused on a duel he has to undergo in order to defend the good name of Vie Francaise; another on the witnessing the death of a colleague of his (Forestier) which clears the way for his ascent within the newspaper; yet another tells of the preparation and realization of the discovery of Madeleine’s adultery which enables Duroy to make a more satisfying match with his chief’s daughter. There is no one to match Duroy’s appeal to women – just as there is no one in Nana to compete with the chief character’s mastery over the other sex. Analogously, no single character is immune to the sexual attraction that Duroy in Bel Ami and Nana in Nana inspire in the members of the opposite sex. What further connects these two chief characters of two realistic novels is that their origins are humble: Nana is born in a working-class family on the outskirts of Paris while Georges Duroy comes from a poor peasant family in Normandy. Considering the character's background and the quality of education that he received, the talents that he is endowed with which, together with the favours of women, enable his social rise are then all the more astonishing and difficult to believe.
List of characters
* Georges Duroy (Du Roy), an ex-soldier, journalist and a social climber
* Charles Forestier, Duroy's former friend in the army, a journalist
* Madeleine Forestier (Du Roy), Charles's and later Georges's wife who helps her husbands write their articles and has lots of connections among the powerful
* Monsieur Laroche-Mathieu, a friend of Madeleine Forestier, a deputy, later a minister who owes his position and sudden wealth to Vie Francaise, Madeleine Forestier's lover
* Comte de Vaudrec, an old longtime friend and protector and probably also lover of Madeleine Forestier (Du Roy)
* Clotilde de Marelle, the Forestiers' friend whose husband, a railway inspector, is away for long periods of time frequently
* Laurine de Marelle, their young daughter, who comes up with the nickname Bel Ami.
* Jacques Rival, a journalist
* Norbert de Varenne, an old single bitter life-tired poet who is among the Vie Francaise staff
* Monsieur Walter, the owner and chief editor of the Vie Francaise
* Virginie Walter, his wife, later Duroy's lover
* Suzanne Walter, their marriageable daughter, later Madame Du Roy
* Rachel, a prostitute to whom Georges turns in times of financial crisis
Synopsis
The story chronicles Georges Duroy's corrupt rise to power from a poor ex-NCO to one of the most successful men in Paris, most of which he achieves by manipulating a series of powerful, intelligent, and wealthy mistresses.
The novel is set in Paris in the upper-middle class environment of the leading journalists of the newspaper La Vie Française and their friends. It tells the story of Georges Duroy, who has spent three years of military service in Algeria. After six months working as clerk in Paris, an encounter with his former comrade, Forestier, enables him to start a career as a journalist. From a reporter of minor events and soft news, he gradually climbs his way up to chief editor. Duroy initially owes his success to Forestier’s wife who helps him write his first articles and, when he later starts writing lead articles, she adds an edge and poignancy to them. At the same time, she uses her connections among leading politicians to provide him with behind the scenes information which allows him to become actively involved in politics. Duroy is also introduced to many politicians in Mme Forestier’s drawing-room. Duroy becomes the lover of Forestiers' friend Mme de Marelle, another influential woman. Duroy later tries to seduce Madeleine Forestier to get even with her husband, but she repulses Duroy’s sexual advances and offers that they become true friends without ulterior motives instead.
In a few months, Charles Forestier’s health deteriorates and he travels to the south of France to regain his health. Soon afterwards, Duroy receives a letter from Madeleine imploring him to come to join her and help her bear the last moments of her husband’s life. As Forestier dies, Duroy asks Madeleine to marry him. After a few weeks to consider, she agrees. Georges now signs his articles Du Roy in order to add prestige to his name. The married couple travel to Normandy, the region of Georges’s childhood, and meet his peasant parents. Finding the reality different than her romantic expectations, Madeleine feels very uncomfortable with his parents and so their stay with them is short. In the newspaper office, Duroy is ridiculed for having his articles written by his wife, just as the late Forestier had his articles written by her. His newspaper colleagues call him ‘Forestier’, which drives Georges mad and he suddenly becomes heavily jealous of Madeleine, insisting that she admit having been unfaithful to Forestier. However, she never admits that.
In order to suppress the stings of jealousy, Duroy starts an affair with Mme Walter, the wife of the owner of the newspaper. He especially enjoys the conquest as he is her first extramarital lover. Later on, he regrets the decision however, for he cannot get rid of her when he does not want her. Du Roy’s relations with his wife gets chillier and chillier and in Chapter Eight of Part Two he takes a police superintendent to come with him to a flat in which his wife is meeting a minister. They catch the two in the act of adultery, which was then a crime punishable by law.
In the last two chapters Du Roy’s ascent to power is further continued. Du Roy, now a single man, makes use of Susanne Walter's, his chief’s daughter’s, infatuation with him, and arranges an elopement with her. The parents then have no other choice but to grant their assent to the marriage. The last chapter shows Du Roy savouring his success at the wedding ceremony at which 'all those who figured prominently in society' were present. His thoughts, however, chiefly belong to Mme de Marelle who, when wishing him all the best, indicates that she has forgiven him for his new marriage and that their intimate meetings can be taken up again.
Symbols
There are a few symbols in the novel. The chief character’s name and nicknames are among them. The daughter of Mme. Marelle first calls him "Bel Ami" which continues to be the nickname used by the women he uses. Duroy starts to sign his articles Du Roy when he is about to marry Madeleine Forestier, ‘roi’ (the same pronunciation) meaning a king. Duroy thus supplants his former friend, the one who enabled his career in journalism in the first place. The articles he then writes with his wife’s help are considered as good as those produced (officially) by Charles Forestier but ‘more factual, more vigorous, more virile’. Seeing that Madeleine was the one who has cowritten the articles of both Charles and Georges, the latter is spitefully addressed ‘Forestier’ by his colleagues; however, fortunately for him, his affairs remain always hidden. Duroy’s moustache is another symbol of his sexual prowess: it is this that women are said to find impossible to resist about him. The painting Monsieur Louis Pascal by Henri de Toulouse-Lautrec is said to depict the character Duroy in Bel Ami.
Duroy's room at the beginning of the novel overlooks a train tunnel, and he watches the trains going in and out of the tunnel - little wonder he's always thinking about sex.
Form of the novel and comparison with Nana
The novel is composed of episodic chapters which frequently represent individual rungs of the social ladder that Duroy climbs. Thus one chapter is focused on a duel he has to undergo in order to defend the good name of Vie Francaise; another on the witnessing the death of a colleague of his (Forestier) which clears the way for his ascent within the newspaper; yet another tells of the preparation and realization of the discovery of Madeleine’s adultery which enables Duroy to make a more satisfying match with his chief’s daughter. There is no one to match Duroy’s appeal to women – just as there is no one in Nana to compete with the chief character’s mastery over the other sex. Analogously, no single character is immune to the sexual attraction that Duroy in Bel Ami and Nana in Nana inspire in the members of the opposite sex. What further connects these two chief characters of two realistic novels is that their origins are humble: Nana is born in a working-class family on the outskirts of Paris while Georges Duroy comes from a poor peasant family in Normandy. Considering the character's background and the quality of education that he received, the talents that he is endowed with which, together with the favours of women, enable his social rise are then all the more astonishing and difficult to believe.
List of characters
* Georges Duroy (Du Roy), an ex-soldier, journalist and a social climber
* Charles Forestier, Duroy's former friend in the army, a journalist
* Madeleine Forestier (Du Roy), Charles's and later Georges's wife who helps her husbands write their articles and has lots of connections among the powerful
* Monsieur Laroche-Mathieu, a friend of Madeleine Forestier, a deputy, later a minister who owes his position and sudden wealth to Vie Francaise, Madeleine Forestier's lover
* Comte de Vaudrec, an old longtime friend and protector and probably also lover of Madeleine Forestier (Du Roy)
* Clotilde de Marelle, the Forestiers' friend whose husband, a railway inspector, is away for long periods of time frequently
* Laurine de Marelle, their young daughter, who comes up with the nickname Bel Ami.
* Jacques Rival, a journalist
* Norbert de Varenne, an old single bitter life-tired poet who is among the Vie Francaise staff
* Monsieur Walter, the owner and chief editor of the Vie Francaise
* Virginie Walter, his wife, later Duroy's lover
* Suzanne Walter, their marriageable daughter, later Madame Du Roy
* Rachel, a prostitute to whom Georges turns in times of financial crisis
mò bó sāng bèi yù wéi “ duǎn piān xiǎo shuō zhī wáng ”, zài wén xué shǐ shàng yǔ qì hē fū qí míng。 duì yú zhōng guó de xiǎo dú zhě 'ér yán, mò bó sāng de xiǎo shuō shì tā men liǎo jiě fǎ guó lì shǐ hé shè huì de chuāng kǒu。 běn shū xuǎn zhù liǎo mò bó sāng de jǐ shí piān duǎn piān xiǎo shuō。 suǒ xuǎn piān mù shì zuò jiā bù tóng shí qī、 bù tóng tí cái de zuò pǐn, jù yòu dài biǎo xìng, yǐ biàn dú zhě liǎo jiě mò bó sāng chuàng zuò de rén wù cháng láng zhōng bù tóng de wén xué xíng xiàng。
dǎo yǔ: mò bó sāng de xiǎo shuō, duō shì pī pàn xiàn shí zhù yì de zuò pǐn, chōng mǎn liǎo fěng cì hé bēi guān de sè diào。 tā men zhī suǒ yǐ shòu dào guǎng fàn de xǐ 'ài hé zàn shǎng, zài yú gè gè xíng xiàng de zhēn shí xìng hé zuò jiā miáo xiě shǒu fǎ de jīng miào。 mò bó sāng shǐ zhōng jiān chí qǔ cái yú píng fán 'ér zhēn shí de shēng huó, duì xì jié miáo xiě zhí zhù 'ér chuán shén, shǐ dú zhě gǎn tóng shēn shòu。 zài xiě zuò jì qiǎo fāng miàn yě yǐ jīng què wéi zhǔn zé。 tā de zuò pǐn zhòng shì jié gòu de bù jú, xíng wén bō lán qǐ fú, yǐn rén rù shèng, gù shì qíng jié qiǎo miào zhēn shí, jié jú chū rén yì liào, ér yòu zài qíng lǐ zhī zhōng。 cǐ wài, mò bó sāng yóu qí shàn yú yòng xǐ liàn de bǐ mò jiē shì rén wù nèi xīn shì jiè。 tā suǒ sù zào de yì shù xíng xiàng, wú lùn shì guì zú、 shén fù、 jūn guān、 hái shì jì nǚ、 yú mín、 liú làng hàn, dū xiān míng shēng dòng, xǔ xǔ rú shēng, zài wén xué shǐ shàng shǎn shuò zhe dòng rén de guāng huī。
mò bó sāng zhǐ huó liǎo sì shí sān suì。 zài tā duǎn zàn de xiě zuò shēng yá zhōng, tā chuàng zuò liǎo dà liàng jīng cǎi de duǎn piān xiǎo shuō。 běn shū cóng zhōng jīng xuǎn liǎo shì hé zhōng xiǎo xué shēng yuè dú de dài biǎo zuò, zài zhōng shí yú yuán zhù de jī chǔ shàng jìn xíng liǎo shì dù de gǎi xiě。 wèile bāng zhù dà jiā gèng hǎo dì liǎo jiě mò bó sāng hé tā de chuàng zuò, běn shū shōu lù liǎo mò bó sāng qù shì hòu zuǒ lā zài tā de zàng lǐ shàng suǒ zhì de dào cí, liè yú shū wěi。
dǎo yǔ: mò bó sāng de xiǎo shuō, duō shì pī pàn xiàn shí zhù yì de zuò pǐn, chōng mǎn liǎo fěng cì hé bēi guān de sè diào。 tā men zhī suǒ yǐ shòu dào guǎng fàn de xǐ 'ài hé zàn shǎng, zài yú gè gè xíng xiàng de zhēn shí xìng hé zuò jiā miáo xiě shǒu fǎ de jīng miào。 mò bó sāng shǐ zhōng jiān chí qǔ cái yú píng fán 'ér zhēn shí de shēng huó, duì xì jié miáo xiě zhí zhù 'ér chuán shén, shǐ dú zhě gǎn tóng shēn shòu。 zài xiě zuò jì qiǎo fāng miàn yě yǐ jīng què wéi zhǔn zé。 tā de zuò pǐn zhòng shì jié gòu de bù jú, xíng wén bō lán qǐ fú, yǐn rén rù shèng, gù shì qíng jié qiǎo miào zhēn shí, jié jú chū rén yì liào, ér yòu zài qíng lǐ zhī zhōng。 cǐ wài, mò bó sāng yóu qí shàn yú yòng xǐ liàn de bǐ mò jiē shì rén wù nèi xīn shì jiè。 tā suǒ sù zào de yì shù xíng xiàng, wú lùn shì guì zú、 shén fù、 jūn guān、 hái shì jì nǚ、 yú mín、 liú làng hàn, dū xiān míng shēng dòng, xǔ xǔ rú shēng, zài wén xué shǐ shàng shǎn shuò zhe dòng rén de guāng huī。
mò bó sāng zhǐ huó liǎo sì shí sān suì。 zài tā duǎn zàn de xiě zuò shēng yá zhōng, tā chuàng zuò liǎo dà liàng jīng cǎi de duǎn piān xiǎo shuō。 běn shū cóng zhōng jīng xuǎn liǎo shì hé zhōng xiǎo xué shēng yuè dú de dài biǎo zuò, zài zhōng shí yú yuán zhù de jī chǔ shàng jìn xíng liǎo shì dù de gǎi xiě。 wèile bāng zhù dà jiā gèng hǎo dì liǎo jiě mò bó sāng hé tā de chuàng zuò, běn shū shōu lù liǎo mò bó sāng qù shì hòu zuǒ lā zài tā de zàng lǐ shàng suǒ zhì de dào cí, liè yú shū wěi。