mǎ gé lì tè · mǐ qiē 'ěr de《 piāo》 qí yǐng xiǎng kě wèi shēn yuǎn。 dàn shì 1949 nián mǐ qiē 'ěr qù shì shí， tā de sī rén xìn jiàn jí wén gǎo， shèn zhì lián《 piāo》 de yuán shǐ dǎ zì gǎo quán bù dōubèi xiāo huǐ liǎo。 zhì cǐ， rén men yī zhí rèn wéi mǐ qiē 'ěr shēng qián zhǐ yòu yī bù zuò pǐn chuán shì。 rán 'ér， 50 nián hòu de jīn tiān， shì rén fā xiàn mǐ qiē 'ěr zài chuàng zuò《 piāo》 zhī qián xiě chéng de lìng yī gè lìng rén xǐ 'ài de gù shì， zhè jiù shì zhōng piān xiǎo shuō《 shī qù de lāi sōng dǎo》。
　　 gāi shū de fā xiàn pī lù liǎo zhēn shí shēng huó zhōng de yī gè làng màn gù shì， zhè jiù shì mǐ qiē 'ěr yǔ tā nián qīng de liàn rén 'ān jí 'ěr de 'ài qíng gù shì。 ān jí 'ěr de hòu dài jiāng zhè bù shǒu gǎo， yǐ jí mǐ qiē 'ěr de xìn jiàn、 zhào piàn yī zhí bǎo cún liǎo bàn gè duō shì jì， jīn tiān zhōng yú jiāng tā men jiāo dào liǎo yòu guān mǐ qiē 'ěr shēng píng de bó wù guǎn cháng shǒu zhōng。
　　 gāi xiǎo shuō wéi rào nán tài píng yáng de yī gè huǒ shān dǎo gòu zhù liǎo yī gè lìng rén jī dòng de、 ài qíng yǔ róng yù de gù shì。

　　Lost Laysen is a novella written by Margaret Mitchell in 1916, although it was not published until 1996.
　　
　　Mitchell, who is best known as the author of Gone with the Wind, was believed to have only written one full book during her lifetime. However, when she was 15, she had written the manuscript to Lost Laysen -- a romance set in the South Pacific. She gave the two notebooks containing the handwritten work to a suitor named Henry Love Angel, who kept the manuscript along with a number of letters Mitchell had sent him. Angel died in 1945, but Lost Laysen remained undiscovered until his son found the manuscript while preparing to donate the letters to the Road to Tara Museum.
　　
　　Lost Laysen was first published in 1996 by the Scribner imprint of Simon & Schuster (ISBN 0684824280 . Edited by Debra Freer, the book includes an extensive introduction telling the story of Mitchell and Angel's relationship, complete with photographs and reproductions of some of her letters.

　　《 luàn shì jiā rén》（ GONEWITHTHEWIND） shì hǎo lāi wù yǐng shǐ shàng zuì zhí dé jiāo 'ào de yī bù kuàng shì jīng diǎn wén xué diàn yǐng， yǐngpiān fàng yìng shí jiān cháng dá 4 xiǎo shí， guān zhě rú cháo。 qí mèi lì guàn chuān zhěng gè 20 shì jì， yòu hǎo lāi wù “ dì yī jù piàn ” zhī chēng。 yǐngpiān dāng nián hào zī 400 duō wàn měi yuán， lì shí sān nián bàn wán chéng， qí jiān shù cì gēnghuàn dǎo yǎn， yín mù shàng chū xiàn liǎo 60 duō wèi zhù yào yǎn yuán hé 9000 duō míng pèijué yǎn yuán。 zài 1939 nián de dì 12 jiè 'ào sī kǎ jiǎng zhōng yī jǔ duó dé bā xiàng jīn xiàng jiǎng， hōng dòng měi guó yǐng tán。 zhè bù hào zī jù dà， chǎng jǐng háo huá， zhàn zhēng chǎng miàn hóng dà bī zhēn de lì shǐ wén xué tí cái yǐngpiān， yǐ tā lìng rén chēng dào de yì shù chéng jiù chéng wéi měi guó diàn yǐng shǐ shàng yī bù jīng diǎn zuò pǐn， lìng rén bǎi kàn bù yàn。
　　
　　1861 nián nán běi zhàn zhēng bào fā de qián xī， tǎ lā zhuāng yuán de qiān jīn xiǎo jiě hǎo sī jiā 'ài shàng liǎo lìng yī zhuāng yuán zhù de 'ér zǐ 'ài xī lì， dàn 'ài xī lì què xuǎn zé liǎo hǎo sī jiā de biǎo mèi héng héng wēn róu shàn liáng de hán mèi lán wéi zhōng shēn bàn lǚ。 hǎo sī jiā chū yú dù hèn， qiǎng xiān jià gěi liǎo hán mèi lán de dì dì chá 'ěr sī。 bù jiǔ， měi guó nán běi zhàn zhēng bào fā liǎo。 ài xī lì hé chá 'ěr sī zuò wéi zhēng bīng shàng liǎo qián xiàn。 chá 'ěr sī hěn kuài jiù zài zhàn zhēng zhōng sǐ qù liǎo。 hǎo sī jiā chéng liǎo guǎ fù， tā nèi xīn què yī zhí duì 'ài xī lì niàn niàn bù wàng。
　　
　　 yī tiān， zài yī cì jǔ xíng yì mài de wǔ huì shàng， hǎo sī jiā hé fēng dù piān piān de shāng rén bái ruì dé xiāng shí。 bái ruì dé kāi shǐ zhuī qiú hǎo sī jiā， dàn zāo dào tā de jù jué。 hǎo sī jiā yī xīn zhǐ xiǎng zhe qù zhuī qiú 'ài xī lì， jiēguǒ yě zāo dào jù jué。
　　
　　 zài zhàn zhēng zhōng， měi guó nán fāng jūn zāo dào shī bài， yà tè lán dà chéng lǐ jǐ mǎn liǎo shāng bīng。 hǎo sī jiā hé biǎo mèi hán mèi lán zì yuàn jiā rù hù shì hángliè zhào gù shāng bīng。 mù dǔ liǎo zhàn luàn dài lái de cǎn zhuàng zhī hòu， rèn xìng de hǎo sī jiā chéng shú liǎo bù shǎo。 zhè shí， cóng qián xiàn chuán lái xiāo xī， běi fāng jūn kuài dǎ guò lái liǎo， bù shǎo rén jiā jīng huáng dì táo lí jiā yuán， kāi shǐ liǎo bù 'ān dìng de liú làng shēng huó。 zhèng zài cǐ shí， hán mèi lán bù qiǎo yào shēng hái zǐ liǎo， hǎo sī jiā zhǐ hǎo liú xià lái zhào gù tā。
　　
　　 zài běi fāng jūn dà jūn yā jìng zhī rì， hǎo sī jiā 'āi qiú bái ruì dé bāng máng hù sòng tā hé gāng shēng xià hái zǐ de hán mèi lán huí tǎ lā zhuāng yuán。 bái ruì dé gào sù hǎo sī jiā tā bù néng mù dǔ nán fāng jūn kuì bài 'ér bù qù zhù yī bì zhī lì， tā yào cān jiā nán fāng jūn zuò zhàn， tā liú xià yī bǎ shǒu qiāng bìng hé hǎo sī jiā yōng wěn gào bié。 hǎo sī jiā zhǐ hǎo dú zì jià shǐ mǎ chē huí dào tǎ lā zhuāng yuán， ér zhè shí jiā lǐ yǐ bèi běi fāng jūn shì bīng qiǎng xiān xǐ dòng yī kōng， mǔ qīn zài jīng xià zhōng sǐ qù。 xī rì měi hǎo de jiā yuán biàn chéng liǎo huāng liáng de qī xī dì， hǎo sī jiā miàn duì zhè yī qiē bēi cǎn shí， biǎo xiàn chū liǎo nǚ rénshào yòu de jiān yì， tā jué dìng chóngjiàn jiā yuán。
　　 bù jiǔ， zhàn zhēng jié shù liǎo。 dàn shì shēng huó yǐ rán kùn kǔ。 běi fāng lái de tǒng zhì zhě yào zhuāng yuán zhù jiǎo nà zhòng shuì， hǎo sī jiā zài jué wàng zhōng qù yà tè lán dà chéng zhǎo bái ruì dé jiè qián， què dé zhī tā yǐ bèi guān jìn jiān yù。 guī lái de tú zhōng， hǎo sī jiā yù shàng liǎo běn lái yào yíng qǔ tā mèi mèi de bào fā hù fú lán kè， wèile yào zhòng zhèn pò chǎn de jiā yè， tā piàn qǔ fú lán kè hé zì jǐ jié liǎo hūn。
　　 hǎo sī jiā zài fú lán kè jīng yíng de mù cái chǎng fēi fǎ gù yòng qiú fàn， bìng hé běi fāng lái de shāng rén dà zuò shēng yì。 cǐ shí， bái ruì dé yòng qián huì lù cóng 'ér huī fù liǎo zì yóu。 liǎng rén 'ǒu rán pèng miàn， zài cì zhǎn kāi 'ài hèn jiāo zhì de guān xì。
　　
　　 fú lán kè hé 'ài xī lì yīn jiā rù liǎo fǎn zhèng fǔ de mì mì zǔ zhì， zài yī cì jí huì shí zāo běi fāng jūn bāo wéi， fú lán kè zhòngdàn sǐ wáng， ài xī lì fù shāng táo wáng， zài bái ruì dé bāng zhù xià huí dào hán mèi lán shēn biān。 hǎo sī jiā zài cì chéng wéi guǎ fù。 cǐ shí， bái ruì dé qián lái xiàng tā qiú hūn， tā zhōng yú yǔ yī zhí 'ài tā de gǎo sī yùn jūn huǒ hé liáng shí zhì fù de bái ruì dé jié liǎo hūn。 hūn hòu， fū qī 'èr rén zhù zài yà tè lán dà de háo huá zhái dǐ zhōng。 yī nián hòu， tā men de nǚ 'ér bāng nī chū shēng， bái ruì dé bǎ quán bù gǎn qíng tóu zhù dào bāng nī shēn shàng。 hǎo sī jiā 'ǒu rán fān yuè 'ài xī lì de zhào piàn bèi bái ruì dé fā xiàn， zhōng yú dǎo zhì liǎo 'èr rén gǎn qíng de pò liè。 qí hòu， zài 'ài xī lì de shēng rì huì qián xī， hǎo sī jiā yǔ 'ài xī lì xiāng jiàn shí rè qíng de yōng bào yǐn qǐ bàng rén fēi yì， hán mèi lán suī rán bù xiāng xìn tā men zhī jiān yòu 'ài mèi guān xì， dàn bái ruì dé què xīn shēng huái yí。
　　 dāng hǎo sī jiā gào sù bái ruì dé tā yǐ jīng zài cì huái yùn shí， bái ruì dé huái yí dì wèn nà shì shuí de hái zǐ， hǎo sī jiā zài xiū nù zhī xià yù dǎ bái ruì dé， què bù shèn gǔn xià lóu tī yǐn qǐ liú chǎn。 bái ruì dé gǎn dào nèi jiù， jué xīn tóng hǎo sī jiā yán guī yú hǎo， bù liào jiù zài tā liǎ tán huà shí， xiǎo nǚ 'ér bāng nī zài qí mǎ shí yì wài zhuì dì 'ér sǐ。 yǔ cǐ tóng shí bù xìng de shì yě zài lìng yī gè jiā tíng lǐ fā shēng， hán mèi lán zhōng yīn cāo láo guò dù wò bìng bù qǐ。 lín zhōng qián， tā bǎ zì jǐ de zhàng fū 'ài xī lì hé 'ér zǐ tuō fù gěi hǎo sī jiā， dàn yào qiú tā bǎo shǒu zhè gè mì mì， hǎo sī jiā bù gù yī qiē pū xiàng 'ài xī lì de huái zhōng， jǐn jǐn yōng bào zhù tā， zhàn zài yī bàng de bái ruì dé wú fǎ zài rěn shòu xià qù， zhǐ hǎo zhuǎn shēn lí qù。 miàn duì shāng xīn yù jué háo wú fǎn yìng de 'ài xī lì， hǎo sī jiā zhōng yú míng bái， tā 'ài de 'ài xī lì qí shí shì bù cún zài de， tā zhēn zhèng xū yào de shì bái ruì dé。
　　 dāng hǎo sī jiā gǎn huí jiā lǐ gào sù bái ruì dé， tā shì zhēn zhèng 'ài tā de shí hòu， bái ruì dé yǐ bù zài xiāng xìn tā。 tā jué xīn lí kāi hǎo sī jiā， fǎn huí lǎo jiā qù xún zhǎo měi hǎo de shì wù， bèi yí qì de hǎo sī jiā zhàn zài nóng wù mí màn de yuàn zhōng， xiǎng qǐ liǎo fù qīn céng jīng duì tā shuō guò de yī jù huà：“ shì jiè shàng wéi yòu tǔ dì yǔ míng tiān tóng zài。” tā jué dìng shǒu zài tā de tǔ dì shàng chóngxīn chuàng zào xīn de shēng huó， tā qī pàn zhe měi hǎo de míng tiān de dào lái。
　　
　　《 piāo》 - zhù yào yǎn yuán jiè shào
　　
　　 kè lā kè · gài bù 'ěr
　　 kè lā kè · gài bù 'ěr kè lā kè · gài bù 'ěr
　　 kè lā kè · gài bù 'ěr， 1901 nián chū shēng yú měi guó 'é hài 'é zhōu de nóng cūn xiǎo zhèn， mǔ qīn zài tā shí gè yuè dà shí biàn qù shì liǎo， fù qīn zài tā sān suì shí lìng qǔ tú shū guǎn zhí yuán zhēn nī wéi jì mǔ。 zhēn nī wú suǒ chū， shì kè lā kè ． gài bó rú qīn shēng zǐ。 shí sì suì shí， fù qīn mài diào tián chǎn， dào 'ào kè lā hé mǎ zhōu qù dāng yóu jǐng gōng rén， kè lā kè bù yuàn yì suí fù qīn bān jiā， nǎi lí jiā chū zǒu， dào dāng dì de yī jiā jù yuàn dǎ gōng， cóng cǐ zhǎn kāi liǎo tā rì hòu de yǎn yì shēng yá。 jiù wài xíng 'ér lùn， kè lā kè． gài bó bìng bù suàn shì yīng jùn xiǎo shēng， zhù yào shì yòu yī duì tè dà hào de zhāo fēng 'ěr。 zài tā tóu shēn diàn yǐng jiè cān jiā shì jìng shí， céng xiān hòu bèi mǐ gāo méi gōng sī fù zǒng cái 'ài wén tài 'ěr bó gé qǔ xiào tā yòu yī shuāng biān fú chì bǎng yī yàng de dà 'ěr duǒ， léi háo píng gōng sī lǎo bǎn huò huá xiū sī gèng kè bó dì shuō tā de 'ěr duǒ xiàng yī liàng dǎ kāi liǎo liǎng shàn mén de jì chéng chē。 suī rán zhè xiē yǐng tán dà hēng bìng bù xīn shǎng kè lā kè． gài bó， dàn nǚ tóng bāo què 'ài tā 'ài dé yào sǐ。 shǒu xiān shì nián líng bǐ gài bó dà liǎng suì de nǚ yǎn yuán fǎ lán xī sī dù fú nà。 tā liǎ zài bō tè lán chéng dìng hūn hòu， dù fú nà jiù jī jí dì yùn yòng zì jǐ de guān xì wéi gài bó dǎ tiān xià， ān pái tā zài xīn xì zhōng yǎn chū juésè， yòu jiè shào tā rèn shí xì jù juàn zhōng yòu tóu yòu liǎn de rén wù。 gài bó yīn cǐ jié shí liǎo nián líng bǐ tā dà shí sì suì de zī shēn nǚ yǎn yuán yuē sè fēn dí lún， tā tóng shí yě shì jù tán zhù míng de yǎn jì zhǐ dǎo， mén shēng shèn duō。 gài bó zài dí lún nǚ shì de dà lì yǐn jiàn xià， yǎn chū jī huì zēng jiā liǎo bù shǎo。 tā zài tóu táo bào lǐ zhī xià， pāo qì liǎo wèi hūn qī， yú 1924 nián yǔ yuē sè fēn dí lún jié hūn。
　　
　　 cānyù zuò pǐn：
　　
　　《 yú lè shì jiè xù jí》 (1976)、《 mǐ gāo méi gōng sī de xǐ jù diàn yǐng huí gù》 (1964)、《 bì gǎng yàn yù》 (1960)、《 tài píng yáng qián tǐng zhàn》 (1958)、《 jiào shī zhī liàn》 (1958)、《 jīn hàn yàn nú》 (1957) děng
　　
　　 fèi wén · lì
　　 fèi wén · lì（ VivienLeigh)(1913 nián 11 yuè 5 rì － 1967 nián 7 yuè 7 rì )。 yuán míng fèi wén · mǎ lì · hā tè lì（ VivienMaryHartley）， yīng guó diàn yǐng yǎn yuán。 tā chéng gōng dì shì yǎn《 luàn shì jiā rén》 de sī jiā lì · ào hā lā hé《 yù wàng hào jiē chē》 de bù lán qí · dù bō yǐ sī， liǎng dù huò dé 'ào sī kǎ zuì jiā nǚ zhùjué。 1999 nián， tā bèi měi guó diàn yǐng xué huì xuǎn wéi bǎi nián lái zuì wěi dà de nǚ yǎn yuán dì 16 míng。
　　 fèi wén · lì fèi wén · lì
　　
　　 zhù yào zuò pǐn：
　　1965《 yú rén chuán》 1951《 yù wàng hào jiē chē》（ huò 'ào sī kǎ zuì jiā nǚ zhùjué jiǎng） 1946《 CaesarandCleopatra》 1941《 hàn mǐ dēng fū rén》 1940《 21Days》 1940《 hún duàn lán qiáo》 1939《 luàn shì jiā rén》　《 piāo》（ huò 'ào sī kǎ zuì jiā nǚ zhùjué jiǎng）　 1938《 SidewalksofLondon》 1937《 StorminaTeacup》 1937《 DarkJourney》 1937《 FireOverEngland》
　　
　　《 piāo》 - jīng diǎn piàn duàn
　　
　　 ruì dé lí kāi hǎo sī jiā hòu， ScarlettO ’ Hara zuì hòu zuò zài lóu tī de tái jiē shàng shuō héng héng“ Afterall， tomorrowisanotherday。”
　　 sī jiā zài huí dào bèi huǐ de jiā yuán hòu , zài shān tóu shàng shuō ----“ shàng dì wèiwǒ zuò zhèng , shàng dì wèiwǒ zuò zhèng , běi lǎo xiū xiǎng jiāng wǒ zhěng kuǎ . děng 'áo guò liǎo zhè yī guān , wǒ jué bù zài rěn jī 'ái’è , yě jué bù zài ràng wǒ de qīn rén rěn jī 'ái’è liǎo , nǎ pà ràng wǒ qù tōu , qù qiǎng , qù shā rén . qǐng shàng dì wèiwǒ zuò zhèng , wǒ wú lùn rú hé dōubù zài rěn jī 'ái’è liǎo !”
　　 diǎn píng
　　 yòu rén shuō zhè bù diàn yǐng zuì jīng diǎn de chǎng miàn shì ScarlettO’ Hara zài zhàn zhēng hòu huí dào bèi huǐ de jiā yuán， zài yuán zhōng shǒu wò hóng tǔ fā shì， wú lùn qù tōu qù qiǎng dōubù huì ràng jiā rén 'ái’è nà duàn， yīn wéi nà shí tā de yǎn shén hé biǎo qíng zhēn de tè bié zhèn hàn rén。 zhè yàng shuō wǒ yě bù fǎn duì， yīn wéi zhè shí zài shì yī bù tài jīng diǎn de piānzǐ， jīng diǎn de chǎng miàn tài duō， gè rén yòu gè rén de piān 'ài。 wǒ dǎo shì qíng yuàn xuǎn zé zhè gè： yǐ hòu， míng tiān jiù shì xīn de yī tiān liǎo。 shénme shì 'ài？ shénme shì hèn？ ài hé hèn kě yǐ xiàng liǎng tiáo yǒng bù xiāng jiāo de píng xíng xiàn， ài hé hèn yě kě néng zhǐ xū yào yī lǚ yáng guāng jiù kě yǐ xiāo róng。 zhēn xī yōng yòu de rén shì xìng fú de， yīn wéi wǒ men zǒng shì bìng bù què qiē zhī dào wǒ men xū yào de dào dǐ shì shénme。 tài duō de rén zhǐ yòu zài shī qù de shí hòu， cái zhī dào qù zhēn xī。 tài gē 'ěr yòu yī jù shī wǒ tè bié xǐ huān： rú guǒ cuò guò tài yáng shí nǐ liú lèi liǎo， nà me nǐ yě jiāng cuò guò xīng xīng liǎo。 lì jìn cāng sāng， nǐ yào xué huì hū lüè guò qù。 yīn wéi héng héng tomorrowisanotherday。
　　“ bù yào bù cí 'ér bié， wǒ de 'ài rén。
　　 wǒ kàn wàng liǎo yī yè， xiàn zài wǒ liǎn shàng shuì yì chóngchóng。
　　 zhǐ kǒng wǒ zài shuì zhōng bǎ nǐ diū shī liǎo。
　　 bù yào bù cí 'ér bié， wǒ de 'ài rén。
　　 wǒ jīng qǐ shēn chū shuāng shǒu qù mō chù nǐ， wǒ wèn zì jǐ shuō：
　　“ zhè shì yī gè mèng me？ "
　　 dàn yuàn wǒ néng yòng wǒ de xīn xì zhù nǐ de shuāng zú， jǐn bào zài xiōng qián！
　　 bù yào bù cí 'ér bié， wǒ de 'ài rén。”
　　 héng héng tài gē 'ěr《 yuán dīng jí》
　　《 piāo》 - rén wù xìng gé
　　
　　 sī jiā lì
　　
　　 yī gè māo yī yàng de nǚ rén。 yòu zhe māo yī yàng de mù guāng， māo yī yàng de wēi xiào， māo yī yàng de bù fá hé māo yī yàng de mǐn jié。 nà me， zhè gè māo yī yàng de nǚ rén tí gōngjǐ wǒ men shì zěn yàng de yī xiē duì dài shēng huó、 duì dài 'ài qíng、 duì dài kùn nán hé cuò zhé de tài dù hé jīng yàn ní？
　　 luàn shì jiā rén luàn shì jiā rén
　　
　　 dì yī tā zài kùn nán de shí hòu gǎn yú chéng dān zé rèn， suī rán yě yòu dòng yáo， dàn zuì hòu réng rán chéng dān zé rèn , bǐ rú tā jiù liǎo méi lán nī， tā zhòng zhèn tǎ lā zhuāng yuán , hòu lái cháng qī fú zhù 'ā xī lǐ yī jiā děng děng。
　　 dì 'èr tā gǎn yú qù 'ài、 wú yuàn wú huǐ， tā de zhěng gè qīng chūn dōuzài 'ài zhe 'ā xī lǐ， méi yòu huí bào dàn tā réng méi yòu fàng qì nǔ lì， zhí dào néng lì de jí xiàn wéi zhǐ。
　　 dì sān zhī cuò néng gǎi， dāng tā zuì hòu míng bái tā zhī qián suǒ wèishì cuò wù shí， tā mǎ shàng xiàng ruì tè dào qiàn， qǐng qiú yuán liàng。
　　 zǒng de lái shuō， sī jiā lì kān chēng jīn guó bù ràng xū méi de qí nǚ zǐ， rén zhōng lóng fèng， nán guài ruì tè zhè yàng de niú rén yě bài dǎo zài tā de shí liú qún xià。 měi cì kàn《 luàn shì jiā rén》， měi cì dōuyòu bù tóng de shōu huò。 nián qīng shí kàn， tǎo yàn xū róng 'ài chū fēng tóu de sī jiā lì， xǐ huān chún jié shàn liáng de méi lán nī， bù xǐ huān yóu qiāng huá diào de ruì tè bā tè lè， xǐ huān wēn wén 'ěr yǎ de 'ā xī lǐ， xǐ huān nán fāng rú huà de jǐng zhì hé tián yuán mù gē shì de shēng huó， bù xǐ huān běi fāng de fú huá hé fàng dàng。 hòu lái kàn liǎo duō cì zhī hòu， bù yóu dé duì sī jiā lì jìng pèi qǐ lái， yuán běn shì yī gè ruò nǚ zǐ， rèn xìng 'ér nián qīng， dì yī cì jié hūn shì yī shí de chōng dòng bào fù， jià gěi liǎo bù 'ài de nán hái， ràng zì jǐ chéng wéi liǎo nián qīng de guǎ fù。 dì 'èr cì jié hūn shì wéi liǎo yī jiā rén de shēng cún， qiǎng zǒu liǎo mèi mèi de xīn shàng rén， kěn ní dí。 kěn ní dí suī rán shì yī gè bàn lǎo tóu zǐ， què bù shì sī jiā lì de duì shǒu， miàn duì tā de lěng kù hé wú qíng， tā shù shǒu wú cè。 zuì zhōng wèile sī jiā lì chàdiǎn zāo shòu de wǔ rǔ qù bào fù qióng bái rén 'ér bèi rén jī bì， bù xìng wǎng sǐ， què cóng wèi xiǎng shòu guò sī jiā lì de yī diǎn 'ài。 yú shì sī jiā lì zài cì chéng wéi guǎ fù， ér qiě hái shì gè yòu qián de guǎ fù。 zài nà gè zhàn huǒ fēn fēi de nián dài， wèile dāyìng guò 'ā xī lǐ zhào gù méi lán nī de yī jù chéng nuò， zài běi jūn jiù yào gōng zhàn yà tè lán dà de shí hòu， sī jiā lì yòu guǒ duàn dì tì méi lán nī jiē shēng， bìng zhǎo dào ruì tè chōng pò chóngchóng zǔ 'ài hé guānqiǎ， huí dào liǎo xiāng xià lǎo jiā－－ tǎ lā zhuāng yuán。 zài yòu jī yòu 'è zhī shí， tā yòu zāo shòu liǎo mǔ qīn bìng wáng、 fù qīn chī dāi、 jiā lǐ bèi jié， yī qióng 'èr bái de duō zhòng dǎ jī， tā bù qū bù náo， dài tóu zhòngtián gànhuó， hèlìng mèi mèi xià chuáng zhāi mián huā， bìng zhào gù méi lán nī hé xiǎo bō， zhī chēng yī jiā rén de shēng jì， nà shí tā dǐng duō yě bù guò shì gè 'èr shí lái suì de xiǎo gū niàn， běn yìng shì gè zài mǔ qīn huái lǐ sǎ jiāo de xiǎo gū niàn。 kě shì miàn duì rú cǐ jù dà de kùn nán， tā méi yòu xuǎn zé táo bì， ér shì yǒng gǎn tiǎo qǐ jiā lǐ de zhòng dān， yǐ cháng rén nán yǐ qǐ jí de yì lì kàng zhēng mìng yùn， měi měi kàn dào sī jiā lì jǔ zhe luóbo xiàng tiān méng shì， jué bù yuàn ràng jiā rén zài shòu kǔ 'ái’è shí， wǒ zǒng shì jué dé pāi piàn dǎo yǎn duì guāng xiàn hé bèi jǐng de yùn yòng shì nà me qiǎo miào hé yì shù， tā nà me shēng dòng dì kè huá liǎo sī jiā kě wàng 'ān dìng、 kě wàng shēng cún、 kě wàng fù yù de qiáng liè 'ér zhēn shí de nèi xīn qíng gǎn。 wǒ jué dé nà shí de tā， yǐ wán chéng liǎo zuì jiān nán de shàn biàn， yóu yī zhǐ chǒu lòu de máo máo chóng pò jiǎn 'ér chū biàn chéng liǎo měi lì de dié， zì yóu 'ér gāo guì， nà shí de sī jiā jiù xiàng yī gè nǚ shén－－－ kě wàng fù yòu、 bìng wéi cǐ néng bù zé shǒu duàn de yù wàng nǚ shén。
　　 gāng qiáng、 jiān rèn
　　 wú lùn shì miàn duì zhàn zhēng de fèi xū hé xiāo yān、 mǔ qīn hé fù qīn de qù shì、 shēng huó de pín qióng jiān nán hái shì nǚ 'ér de yāo zhé， zài hé tā chéng shòu tóng yàng de tòng kǔ hé jiān nán de rén men dāng zhōng， tā dōushì zuì gāng qiáng、 zuì jiān rèn de yī gè hé zuì xiān cóng tòng kǔ hé jiān nán zhōng zǒu chū lái de yī gè。 dāng sī jiā lì miàn duì zhe yǐ shì mǎn mù shāng hén tài lè zhuāng yuán shí， tā de jiān rèn hé gāng qiáng lìng tā zhè gè jiā zhōng de cháng nǚ dān qǐ jiāzhǎng de zhòng dān。 zài yǐngpiān de mò wěi， tā hái jiān dìng dì gào sù wǒ men： Tomorrowisanotherday。
　　 xū róng
　　 zhè yīnggāi shì yī gè biǎn yì cí liǎo， kě shì， sī jiā lì de xū róng xīn sì hū gé wài de kě 'ài， zài tā de shēn shàng， xū róng sì hū yě biàn chéng liǎo bāo yì cí。 yòu wèi míng mó céng shuō：“ nǚ hái zǐ zǒng shì yào yòu yī diǎn xū róng xīn de， wú lùn zhè xū róng xīn biǎo xiàn zài shénme fāng miàn。” dāng sī jiā lì chě xià mǔ qīn wéi yī de yí wù héng héng chuāng lián， wú lùn rú hé yě yào yòng tā zuò yī jiàn piào liàng de yī fú， hái jiāng tā pī zài shēn shàng chōng jǐng zhe xīn yī fú de yàng zǐ shí， tā de xū róng xīn shǐ tā chéng liǎo yī gè kàn qǐ lái bù xiào de nǚ 'ér， dàn tā de zhè zhǒng zuò fǎ（ yě jiù shì tā de xū róng xīn） shì dāng shí zhěng jiù quán jiā de wéi yī chū lù。 yóu xū róng xīn 'ér shǐ quán jiā réndōu yòu liǎo shēng cún xià qù de xī wàng， zhè yàng de xū róng xīn yě bù yīnggāi suàn shì zhí dé bìng qì de。
　　 tān lán
　　 zhè zǒng yīnggāi shì gè biǎn yì cí liǎo。 dàn shì， sī jiā lì de tān lán bù jǐn shì yòu qíng kě yuán de， zài mǒu zhǒng chéng dù shàng lái jiǎng hái shì nán néng kě guì de。 zhàn hòu de tài lè zhuāng yuán zài běi fāng jūn de kòng zhì zhī xià， mǔ qīn de qù shì hé fù qīn de bēng kuì shǐ sī jiā lì héng héng jiā zhōng de cháng nǚ dān qǐ liǎo“ jiāzhǎng” de zhòng dān。 sī jiā lì yī jiā rén guò zhe jiān xīn de shēng huó。 zhàn zhēng shǐ tā pín qióng， pín qióng jì zhī yǐ jī 'è。 rán 'ér zuì kě pà de shì wú qián jiāo shuì xiǎn xiē shī qù shēng huó lái yuán de tǔ dì， wèile jiè qián jiāo shuì， sī jiā lì gòu yǐn liǎo mèi mèi de qíng rén， jì 'ér dāng qǐ liǎo yī jiā xiǎo diàn de lǎo bǎn niàn。 zài jīng lì zhè yī qiē hòu， tā míng bái liǎo tā suǒ chù de shì yī gè shénme yàng de shè huì yǐ jí zài zhè gè shè huì zhōng qián de zhòng yào xìng。 suǒ yǐ， dāng tā yōng yòu liǎo dāng qián tā suǒ xū yào de qián zhī hòu， tā zì rán huì xiǎng yōng yòu gèng duō de qián。 zài tā zhuī qiú“ gèng duō de qián” de guò chéng zhōng， tā biǎo xiàn chū liǎo yī gè zǎo qī zī běn zhù yì de zī běn jiā suǒ bì xū jù yòu de yōu xiù pǐn zhì héng héng tān lán。
　　 cán rěn yǔ zì sī
　　 zhè liǎng gè cí wú lùn yòng zài shénme rén shēn shàng sì hū dū yìng gāi shì biǎo biǎn yì de cí yǔ， tè bié shì yǐ wēn hé、 shàn liáng wéi měi dé de nǚ xìng。 dàn shì， sī jiā lì de cán rěn yǔ zì sī zài mǒu zhǒng shì dù shàng què shì zhí dé bāo yáng de。 shǒu xiān， zài shè huì zhuǎn xíng de shí qī， rén de guān niàn xū yào cóng chuán tǒng de guān niàn zhuǎn biàn chéng wéi xīn xíng de、 yǔ shè huì fā zhǎn xiāng shì yìng de guān niàn。 bù néng zài dì yī shí jiān nèi zhuǎn biàn guān niàn de rén jiù shī qù liǎo lǐng dǎo shí dài de zhù dòng quán。 sī jiā lì jiù shì yī gè zài dì yī shí jiān nèi zhuǎn biàn guān niàn， jiē shòu liǎo xīn de shè huì hé shè huì zhì dù、 xīn de jià zhí guān niàn、 xīn de shēng huó fāng shì， bìng qiě chéng wéi liǎo yī gè xiǎo zī běn jiā de nǚ rén， zài zhè yī diǎn， tā shì fēi cháng liǎo bù qǐ de。 ér qiě， zài gāng gāng jiàn lì liǎo zī běn zhù yì zhì dù shí， zì sī hé cán rěn duì yú yī gè zī běn jiā lái shuō shì shēng cún hé fā zhǎn de guān jiàn。 zài zī běn zhù yì shè huì， duì shì jiè de bó 'ài yǐ jīng shì zǔ 'ài zī běn de zì shēn shēng cún hé fā zhǎn de yī gè yīn sù， cǐ shí， zì sī yǔ cán rěn jiù chéng liǎo qiáng zhě de yōu diǎn。
　　 měi lì
　　 sī jiā lì wèiwǒ men tí gōng liǎo yī zhǒng duì dài 'ài qíng de tài dù。 tā měi lì， dàn tā zhǐ shì shìdàng dì yùn yòng tā de měi lì lái dé dào tā suǒ xǐ 'ài de dōng xī， cóng lái bù yòng zì jǐ de měi mào lái wán nòng 'ài qíng， wú lùn shì zì jǐ de hái shì tā rén de 'ài qíng。 sī jiā lì shì měi lì de， dàn měi lì bù shì yōng yòu 'ài qíng de bì bèi tiáo jiàn héng héng nǐ kě yǐ méi yòu sī jiā lì nà yàng měi lì dòng rén， dàn nǐ yě yòu quán lì qù zhuī qiú shǔ yú zì jǐ de 'ài qíng。
　　
　　 zōng shàng suǒ shù， wǒ men dé chū liǎo zhè yàng de yī gè jié lùn：
　　 sī jiā lì， māo yī yàng de nǚ rén， gāng qiáng de、 jiān rèn de、 xū róng de、 tān lán de、 cán rěn de、 zì sī de nǚ rén， nǚ rén de diǎn fàn。
　　 sī jiā zhè gè rén， hěn kě bēi， kě bēi dào liǎo yī zhǒng kě xiào de chéng dù。
　　 jiù xiàng tā zì jǐ yì shí dào dídí，“ tā duì tā suǒ 'ài guò de liǎng gè nán rén nǎ yī gèdōu bù lǐ jiě， yīn cǐ dào tóu lái liǎng gèdōu shī diào liǎo。 xiàn zài tā cái huǎng hū rèn shí dào， rú guǒ tā dāng chū liǎo jiě 'ài xī lǐ， tā shì jué bù huì 'ài tā de； ér rú guǒ tā liǎo jiě liǎo ruì dé， tā jiù wú lùn rú hé dōubù huì shī diào tā liǎo。”
　　 tā yī zhí bù míng bái zhàn hòu de rén men wèishénme huì qù zhuī yì zhàn qián， zhí dào bāng nī sǐ hòu， tā cái míng bái liǎo yuán yīn， dàn shì， nǎ xiē kě yǐ yǔ tā zhuī yì guò wǎng de rén， yǐ jīng yóu yú tā zì jǐ de shū yuǎn， pái chì yǐ jīng yuè lái yuè yuǎn， ér tā de nà xiē“ xīn péng yǒu” què yě wú fǎ shǐ sī jiā gāo xīng qǐ lái。
　　 yī zhí hěn xǐ huān ruì dé lí kāi qián de nà yī duàn huà，“ sī jiā， wǒ cóng lái bù shì nà yàng de rén， bù néng nài xīn de shí qǐ yī xiē suì piàn， bǎ tā men zhānhé zài yī qǐ， rán hòu duì zì jǐ shuō zhè gè xiū bǔ hǎo liǎo de dōng xī gēn xīn de wán quán yī yàng。 yī yàng dōng xī pò suì liǎo jiù shì pò suì liǎo héng héng wǒ nìngyuàn jì zhù tā zuì hǎo shí de múyàng， ér bù xiǎng bǎ tā xiū bǔ hǎo， rán hòu zhōng shēng kàn zhe nà xiē pò suì liǎo de dì fāng。 yě xǔ， jiǎ shǐ wǒ hái nián qīng yī diǎn héng héng kě shì wǒ yǐ jīng zhè me dà nián jì liǎo， bù néng xiāng xìn nà zhǒng chún shǔ gǎn qíng de shuō fǎ， shuō shì yī qiēdōu kě yǐ cóng tóu kāi shǐ。 wǒ zhè me dà nián jì liǎo， bù néng zhōng shēng bēizhe huǎng yán de fù dān， zài mào sì tǐ miàn dì huàn miè zhōng guò rì zǐ。 wǒ bù néng gēn nǐ shēng huó zài yī qǐ tóng shí yòu duì nǐ shuō huǎng， ér qiě wǒ jué bù néng qī piàn zì jǐ。 jiù shì xiàn zài， wǒ yě bù néng duì nǐ shuō huǎng huà 'ā！ wǒ shì hěn xiǎng guān xīn nǐ jīn hòu de qíng kuàng de， kě shì wǒ bù néng nà yàng zuò。”
　　 rú guǒ méi yòu ruì dé， sī jiā shì bù wán zhěng de， nǎ me《 piāo》 yě jiù bù néng bèi chēng wéi“ míng zhù” liǎo。 sī jiā， zì sī， xū róng， tān lán， gāng qiáng， jiān rèn。 rú guǒ shuō zhè xiē xíng róng cí yòng zài bié rén shēn shàng， zhǐ pà quán bù dōushì biǎn yì de， dàn shì duì sī jiā 'ér yán， wǒ dǎo jué dé yòu diǎn xiàng shì bāo yì cí。 qí shí， jiù xiàng ruì dé shuō de，“ wǒ mendōu shì liú máng， wǒ mendōu shì wú lài。” tā duì yú zì jǐ yǔ sī jiā de fēn xī shì hěn tòu chè de， yě zhèng yīn wèitā de zhè xiē fēn xī，《 piāo》 cái huì bèi wú shù rén suǒ bài dú， sī jiā yě cái wán zhěng。
　　 guān yú diàn yǐng bǎn《 piāo》 héng héng《 luàn shì jiā rén》， wǒ zhǐ néng shuō， wǒ kàn wán diàn yǐng jiù xǐ huān shàng liǎo fèi wén lì。 yīn wéi tā suǒ yǎn yì de sī jiā zhēn de jiù xiàng huó zhe de yī yàng， ràng wǒ zài yī cì gǎn shòu dào liǎo sī jiā de měi， sī jiā de yī qiē。
　　
　　 ruì dé
　　
　　 wǒ bì xū chéng rèn， duì wǒ lái shuō，《 luàn shì jiā rén》 de xī yǐn lì zhī suǒ yǐ zhè me dà， hé kè lā kè gài bó zhù yǎn de ruì tè bā tè lè jué duì yòu guān xì。
　　 dāng rán， sī jiā lì mī zhe nà shuāng xiàng māo nà yàng de lǜ yǎn， mí rén 'ér yāo mèi， tóng yàng yě ràng rén qīng dǎo。 tā shì gè ràng nǚ réndōu néng wéi zhī shén hún diān dǎo de nǚ rén， tā zì sī、 lěng kù、 wú qíng、 cōng míng、 bù zé shǒu duàn、 jiān qiáng， què bù fá shàn liáng、 měi lì、 cuì ruò； tā shì yī gè gāo bù kě pān de nǚ shén， ràng xǔ duō nǚ réndōu mèng xiǎng zhe néng xiàng tā nà yàng， jí cái fù、 měi mào、 néng gān、 jiān qiáng yú yī shēn， ràng ruì tè nà yàng de nán rén néng gòu wéi tā 'ér qīng dǎo。 zhì shǎo wǒ céng jīng jiù nà yàng xiǎng guò。 dàn wǒ rèn wéi， ruì tè gěi wǒ men zhè xiē nǚ xìng guān zhòng dài lái de què gèng duō shì duì 'ài qíng hé hūn yīn de tián měi huàn xiǎng， tā shì nà me xiāo sǎ tì tǎng， nà me wán shì bù gōng， nà me zì xìn guò rén， fù yòu bìng chōng mǎn liǎo chéng shú nán rén de mèi lì， gāi shì duō shǎo nǚ xìng xīn mù zhōng de 'ǒu xiàng 'ā。
　　 zài zhè lǐ， jiǎn dān huí shǎn sī jiā hé ruì tè xiāng yù、 xiāng shí、 xiāng 'ài de jǐ gè piàn duàn， jiù néng ràng rén duì ruì tè 'ài wǒ suǒ 'ài， jiān chí zì 'ér， fù yòu gè xìng de nán xìng mèi lì yìn xiàng shēn kè：
　　 piàn duàn yī： ruì tè dì yī cì jiàn dào sī jiā lì shì zài shí 'èr xiàng shù yuán de shāo kǎo huì shàng。 sī jiā lì xiàng suǒ yòu de nán shì mài nòng fēng qíng， què fā xiàn ruì tè zhèng zhù yì tā， sī jiā lì xiàng shēn biān de nǚ bàn bào yuàn shuō：“ tā kàn wǒ de yàng zǐ， jiù xiàng wǒ méi chuān yī fú” kě jiàn ruì tè gěi rén de gǎn jué bù shì wēn wén 'ěr yǎ， fù yòu shēn shì fēng dù， duì shì shì de yòu zhǒng bié rén suǒ bù jù bèi de qiáng dà dòng chá lì hé yǐng xiǎng lì， biǎo míng liǎo tā yǔ yī bān de nán fāng nán rén bù tóng diǎn： xiàn shí、 dà dǎn 'ér fù yòu jìn gōng xìng， dāng tā duǒ zài shū fáng lǐ tōu tīng sī jiā lì dà dǎn dì xiàng 'ā xī lǐ biǎo lù 'ài mù， dàn yīn zāo dào wǎn jù， tā qì jí bài huài dì shān liǎo 'ā xī lǐ yī gè 'ěr guāng， bìng zá suì liǎo yī gè xiǎo huā píng shí， tā chuī liǎo yī gè kǒu shào， yú shì tā bèi sī jiā lì zhǐ zé wéi bù shì yī gè shēn shì， ér tā tóng shí yě fǎn chún xiāng jī sī jiā lì bù shì yī gè zhēn zhèng de shū nǚ， ràng sī jiā lì qì jí。 liǎ rén dì yī cì xiāng jiàn jiù shì yī cì 'ài qíng de jiāo fēng。
　　 piàn duàn 'èr： sī jiā lì yīn chá 'ěr sī bìng wáng dào yà tè lán dà sàn xīn， zhèng zài fúsāng de tā， shí fēn kě wàng néng zài dù fēi xuán yú wǔ chí zhōng， biǎo xiàn liǎo tā zài nèi xīn lǐ duì wú jū wú shù、 zì yóu shēng huó de xiàng wǎng hé chōng jǐng。 shì ruì tè kàn chū liǎo tā de xīn sī， bìng chū zhòng jīn tì tā qiào kāi liǎo nà gè yā yì 'ér chén mèn de shè huì dào dé qiú lóng， shǐ tā zǒu shàng liǎo hé bié de nán fāng nǚ rén zuì bù xiāng tóng de mìng yùn zhī lù。 zhè zhèng shì sī jiā lì fǎn pàn jiù de shè huì dào dé biāo zhǔn mài chū de guān jiàn xìng yī bù， ér zhè yī bù， rú guǒ méi yòu ruì tè 'àn zhōng piàn duàn sān： ruì tè wèile bāng zhù sī jiā lì chóngfǎn gù lǐ， pīn sǐ nòng liǎo yī pǐ shēn fù zhòng shāng de lǎo mǎ， bìng bāng zhù tā bǎ méi lán nī bào dào mǎ chē shàng， tóng shí yī lù lì jīng xīn kǔ， bìng zài jí jiāng yào dào dá de shí hòu， ruì tè kàn dào xǔ duō nán fāng bīng qiánpū hòu jì， shì sǐ rú guī， shēn gǎn zhèn hàn， bìng jué dìng shàng zhàn chǎng， wéi bǎo wèi jiā yuán jìn yī fèn lì。 zhè shí kě yǐ kàn chū， wèile xīn 'ài de nǚ rén， tā néng chū shēng rù sǐ； tóng yàng， miàn lín jiā yuán bèi huǐ zhī jìng， tā yě shì yī gè rè xuè zhī rén， dǎo yǎn zài zhè lǐ cái xiàng wǒ men miáo huì liǎo yī gè shēn cáng zài píng rì wán shì bù gōng wài biǎo xià， yě jù yòu yī kē wéi róng yù gān sǎ rè xuè zhī xīn de diǎn xíng nán fāng nán xìng de xíng xiàng。 zài zhè lǐ wǒ men kàn dào， suī rán ruì tè píng rì lǐ fēi cháng jīng míng、 xiàn shí， dàn tā gǔ zǐ lǐ qí shí hái shì yī gè nán fāng rén。
　　 piàn duàn sì： ruì tè zài jīng lì liǎo sàng nǚ zhī tòng hé sī jiā lì zài jīng shén shàng de bèi pàn hòu， miàn duì méi lán nī de zhī sǐ， duì yī qiēdōu huī xīn shī wàng zhì jí， huí jiā shōu shí xíng lǐ， fǎn huí zì jǐ de gù xiāng， chá 'ěr sī dùn。 dāng yú chǔn de sī jiā lì zuì hòu fā xiàn zì jǐ yǐ shēn 'ài ruì tè shí， cái fā xiàn yǐ zuì zhōng shī qù liǎo zì jǐ zuì xīn 'ài de rén。 ruì tè zuì hòu zǒude shí fēn gān cuì， ràng sī jiā lì shēn gǎn 'ào huǐ。 zhí dào zhè lǐ， wǒ men cái tīng dào nà kē céng jīng wéi 'ài 'ér róu ruǎn de xīn pò suì de shēng yīn， tóng shí yě yīn wéi pò suì 'ér duì sī jiā lì biàn dé“ lěng kù wú qíng”， zhè lǐ de ruì tè cái ràng wǒ men gǎn jué dào， zhè gè nán rén gǎn 'ài gǎn hèn， chǔlǐ shì qíng shí fēn gān cuì lì luò， jí fù nán xìng mèi lì。
　　 ruì dé zhè gè rén gǎn 'ài gǎn hèn， jiù rú shàng wén suǒ shuō， tā bù yuàn shí qǐ pò suì de gǎn qíng， suǒ yǐ cái huì zài zuì hòu biàn dé nà me lěng kù wú qíng。 zhè gè rén wù hěn fù yòu nán xìng mèi lì， jiù xiàng sī jiā suǒ yōng yòu de nǚ xìng mèi lì， tóng yàng shǐ rén chén zuì。
　　 tā men liǎng gè de jié hé， què shí jiù xiàng ruì dé suǒ shuō，“ zhū lián bì hé”。 dàn shì， zài ruì dé de xiàn shí yǔ sī jiā de huàn xiǎng zhōng， ruì dé shī bài liǎo， tā de gǎn qíng yě yīn cǐ zhēn zhèng de pò suì liǎo。
　　 ér kè lā kè · gài bó de yǎn yì gèng shì wú kě tiǎo tī， zài nà zhǒng piān piān fēng dù bèi hòu de cháo nòng， zài nà zhǒng chén wěn lěng jìng bèi hòu de kuáng fàng bù jī， dōushì ràng rén pō wéi mí zuì de。
　　
　　 ài xī lǐ yǔ mèi lán
　　
　　 zài shuō shuō 'ā xī lǐ hé méi lán nī， tā men shì xiāng sì de， jù bèi nán fāng de yī qiē měi dé， yòu zhī shí， yòu wén huà， yòu sī xiǎng， yòu xiū yǎng。
　　 méi lán nī jī běn shàng shì wán měi de， tā shàn liáng， rén cí yòu bù fá yǒng qì， sī jiā lì zhāi mián huā shí， tā xiǎng bāng máng， sī jiā lì shā rén shí tā yě bāng máng， chú liǎo ruì tè， tā shì sī jiā lì de lìng yī gè zhī chí zhě。 wǒ zuò guò xiǎo fàn wéi de diào chá， xiān kàn shū de jī běn dū xǐ huān sī jiā lì， ér xiān kàn diàn yǐng de zé xǐ huān méi lán nī。 wǒ jué dé měi lán nī tài hǎo liǎo， hǎo dé bù zhēn shí， ér sī jiā lì shì yòu xuè yòu ròu de， shì zhēn shí de， yòu quē diǎn yě yòu yōu diǎn。
　　 ā xī lǐ shì zhēn shí de， tā shì gè huó zài guò qù de rén， shí shì biàn qiān， tā bù xiǎng miàn duì， tā shì quē fá yǒng qì de。 tā bù 'ài sī jiā lì， yòu bù shuō bù 'ài tā。 sī jiā lì zǒu tóu wú lù zhǎo tā shí tā zhǐ gěi liǎo tā zhuāng yuán de hóng tǔ， hòu lái zhī dào sī jiā lì mài liǎo zì jǐ， tā shuō tā gāi qù qiǎng jié， tā yě zhǐ shì shuō shuō bā， gū jì bù huì qù de， zhè yī diǎn， tā què shí bù rú tuō zhe jūn dāo xiǎng bāng sī jiā lì duì fù táo bīng de měi lán nī。
　　 luàn shì jiā rén lǐ de rén wù dōushì wán měi de， rú guǒ méi yòu měi lán nī de shū nǚ fēng fàn， zěn néng tǐ xiàn chū sī jiā lì de jié 'ào bù xùn。 méi yòu 'ā xī lǐ de nuò ruò， zěn néng tǐ xiàn chū ruì dé de fēng fàn ní？
　　
　　 sī jiā lì de nǎi mā . mǎ gé lì tè
　　
　　 wēn nuǎn， kě kào， ān quán。 xiàng mǔ qīn yī yàng shí kè bǎo hù tā de hái zǐ sī jiā lì。
　　 lǐ zhì， cōng míng， xiàn shí 'ér qiě lěng jìng， dài yī xiē hēi rén de jiǎo huá。 tā dǒng sī sī jiā lì， zhī chí tā， ài tā， suī rán méi yòu duō shuō shénme， dàn shì tā yī zhí shì sī jiā lì de kào shān， jiān qiáng yòu lì。
　　 zhōng chéng， gù zhí， kě 'ài。 duì zì jǐ de bǎo bèi， nà shì bù gù yī qiē de qù bǎo hù； suī rán zhǐ shì yī gè jiā nú， dàn tā yòu zì jǐ suǒ yào wéi hù de chù shì yuán zé。
　　 hēi rén nǎi mā de xíng xiàng kè huà de fēi cháng chéng gōng。 yóu cǐ bàn yǎn hēi mā de yǎn yuán hā dì · mài kè dān ní 'ěr (HattieMcDaniel） zhàn shèng liǎo 'ào lì wéi yà ( méi lán nī ) huò dé liǎo dì shí 'èr jiè 'ào sī kǎ zuì jiā nǚ pèijué jiǎng， jù shuō shì lì shǐ shàng dì yī gè huò dé 'ào sī kǎ jiǎng de hēi rén。 hā dì jiāng qí tè yòu de yōu mò gǎn zhù rù nǎi mā mǎ gé lì tè yī xíng xiàng zhōng， tái cí niàn dé wán měi wú quē， yǔ sī jiā lì de bàn yǎn zhě fèi wén lì pèi hé mò qì， yóu rú lǜ yè fú hóng huā， jiēguǒ liǎng rén shuāng shuāng huò jiǎng。 yóu yú nǎi mā yī jiǎo de chéng gōng， hā dì hòu lái jīhū lǒng duàn liǎo yín mù shàng suǒ yòu de hēi rén bǎo mǔ juésè， zài xǔ duō yǐngpiān lǐ kě yǐ kàn dào tā nà féi pàng、 wēn shùn、 ráo shé de xíng xiàng。
　　
　　《 piāo》 - mù hòu huā xù
　　
　　 shí dài bèi jǐng： měi guó nèi zhàn；
　　 dì diǎn： měi guó nán fāng；
　　 xì jù gāo cháo： huǒ shāo yà tè lán dà。
　　
　　 zài rú cǐ zhuàng lì de shí dài huà juàn shàng yǎn yì chū yī gè jí bù xún cháng de 'ài qíng gù shì， kāi chuàng liǎo yǐ zhēn shí 'ér liáo kuò de lì shǐ bèi jǐng jiā xū gòu rén wù gù shì de 'ài qíng shǐ shī piàn xiān hé ( gāi chuán tǒng fā zhǎn chū《 rì wǎ gē yī shēng》 hé《 tài tǎn ní kè hào》 děng jiā zuò )。 zhè bù zǎo qī de cǎi sè piàn bǎo chí liǎo mǎ gé lì tè · mǐ qiē 'ěr yuán zhù de yùn wèi hé shēn dù， jì yòu sè cǎi hún hòu de dà chǎng miàn ( rú nǚ zhùjué kuà guò biàn dì shāng yuán de jìng tóu )， yòu yòu duì rén wù mìng yùn de xì zhì kè huà ( qǐng zhù yì hēi rén nǚ pú de xìng gé )。 wú lùn nǐ rèn wéi sù cái xiàng suō wēng míng jù hái shì xiàng yōng sú féi zào jù， yǐngpiān qǔ dé jīng rén de yì shù hé shāng yè chéng jiù。 yīng wén piàn míng《 piāo》 ( jí《 suí fēng 'ér qù》 ) chū zì měi guó shī rén 'ōu nèi sī tè · dào sēn de yī jù shī。 nǚ zhùjué de jīng diǎn yā zhóu tái cí“ míng tiān shì xīn de yī tiān” nǎi yuán zuò chū bǎn qián de zàn dìng míng。 běn piàn róng huò 'ào sī kǎ zuì jiā yǐngpiān、 zuì jiā dǎo yǎn、 zuì jiā nǚ zhùjué、 zuì jiā nǚ pèijué děng qī xiàng dà jiǎng。 1994 nián de xù jí《 hǎo sī jiā》 (Scarlett) shì yī bù cháng dá 360 fēn zhōng de diàn shì jù， háo huá zhì zuò， fú zhuāng bù jǐng děng xià liǎo xuè běn。 gù shì jiǎng hǎo sī jiā gēn bái ruì dé lí hūn hòu yǐ rán 'ǒu duàn sī lián， tā shèn zhì huí dào 'ài 'ěr lán， bèi kòng móu shā děng děng。 yǐngpiān gēn jù léi pǔ lì xiǎo shuō gǎi biān。
　　
　　 yǐngpiān pāi shè hào zī 390 wàn měi yuán， zài dāng shí jǐn qū jū yú《 bīn xū》 hé《 dì yù tiān shǐ》 zhī hòu。 zài xiǎo shuō chū bǎn de yī gè yuè hòu， zhì piàn rén dà wèi · sài 'ěr cí ní kè jiù yòng 5 wàn měi yuán mǎi xià liǎo xiǎo shuō de diàn yǐng pāi shè quán， duì yú xīn rén de chǔnǚ zuò lái jiǎng， zhè gè jià mǎ zài dāng shí kě wèi shì tiān wén shù zì。 zài 1942 nián sài 'ěr cí ní kè de zhì piàn gōng sī jiě sàn shí， tā yòu xiàng xiǎo shuō zuò zhě mǎ gé lì tè · mǐ xiē 'ěr zhī fù liǎo 5 wàn měi yuán de fēn hóng。 mǎ gé lì tè bǐ xià 'ài shí lì hé méi lán ní de rén wù yuán xíng dōushì tā de biǎo xiōng mèi， duō kè hé mǎ dì xiāng 'ài， dàn tā men shì qián chéng de tiān zhù jiào tú， yòu xuè yuán guān xì de qīn shǔ shì yán jìn jié hūn de。 hòu lái， duō kè lí kāi liǎo mǎ dì， dào xī bù chéng liǎo bù fǎ zhī tú， ér mǎ dì zé zuò liǎo xiū nǚ。
　　
　　 piàn zhōng shī huǒ de chǎng jǐng shì zuì xiān pāi shè de， bāo kuò 1933 nián《 jīn gāng》 zhōng shǐ yòng de bù jǐng jūn bèi fù zhī yī jù， zhè duàn jiāo piàn cháng 113 fēn zhōng， gòng hào zī 25000 měi yuán， dāng shí de huǒ qíng shí fēn měng liè， yǐ zhì bù zhī qíng de gōng zhòng yǐ wéi mǐ gāo méi dū huà wéi huī jìn liǎo， bào jǐng diàn huà xiǎng zuò yī tuán。
　　
　　 zài pāi shè sī jiā lì cóng huǒ zhōng táo shēng de huà miàn shí， jù zǔ xū yào yī pǐ shòu gǔ lín xún de lǎo mǎ， jǐ jīng xún zhǎo， zhōng yú wù sè dào yī pǐ， rán 'ér dāng jǐ zhōu hòu mǎ bèi dài dào piàn chǎng， yuán xiān qīng xī kě jiàn de lē gǔ hén jì yīn wéi zēng zhòng yǐ jīng dàng rán wú cún， yóu yú shí jiān jǐn pò， huà zhuāng shī zhǐ hǎo zài mǎ de lē gǔ bù wèi huà chū yīn yǐng。
　　
　　《 piāo》 - jīng diǎn tái cí
　　
　　 měi guó diàn yǐng xué yuàn měi nián dū huì wéi yī xiē tè bié de diàn yǐng xiàng mù píng chū qián 100 míng。 05 nián qǔ dé jīng diǎn tái cí bǎng dì yī de diàn yǐng《 luàn shì jiā rén》 shì kè lā kè · gài bó zài 1939 nián chū yǎn dídí yī jù tái cí。 nà shì bái ruì dé duì hǎo sī jiā shuō de yī jù huà：“ tǎn bái shuō， qīn 'ài de， wǒ yī diǎn yě bù zài hū。”“ gài bó de zhè jù tái cí bèi rén men zài bù tóng de chǎng hé yǐn yòng，” bào bó shuō。“ wú lùn nán nǚ， dāng tā men xiàn rù yī zhǒng bìng méi yòu wán quán tóu rù de liàn 'ài guān xì shí， xiǎng yào kòng zhì jú miàn， jiù huì yòng dào zhè jù huà。”
　　《 piāo》 - suǒ huò jiǎng xiàng
　　
　　 běn piàn zài dì shí 'èr jiè 'ào sī kǎ jīn xiàng jiǎng（ 1939） zhōng róng huò bā xiàng dà jiǎng：
　　 zuì jiā nǚ zhùjué jiǎng（ BestActress） ......................... fèi · wén lì（ VivienLeigh）
　　 zuì jiā nǚ pèijué jiǎng（ BestSupportingActress） ...... hā dì · mài kè dān ní 'ěr（ HattieMcDaniel）
　　 zuì jiā yǐngpiān jiǎng（ BestPicture） ...........................《 luàn shì jiā rén》（ GoneWiththeWind）
　　 zuì jiā dǎo yǎn jiǎng（ BestDirector） .......................... wéi kè duō · fú lāi míng（ VictorFleming）
　　 zuì jiā biān jù jiǎng（ BestScreenplay） .................... xī ní · huò huá dé（ SidneyHoward）
　　 zuì jiā yì shù zhǐ dǎo（ BestArtDirection） ...............LyleR.Wheeler
　　 zuì jiā shè yǐng jiǎng（ BestCinematography） ............ErnestHaller&RayRennahan
　　 zuì jiā jiǎn ji jiǎng（ BestFilmEditing） ....................HalC.Kern&JamesE.Newcom
　　《 piāo》 - diǎn píng
　　
　　 yòu rén shuō zhè bù diàn yǐng zuì jīng diǎn de chǎng miàn shì ScarlettO’ Hara zài zhàn zhēng hòu huí dào bèi huǐ de jiā yuán， zài yuán zhōng shǒu wò hóng tǔ fā shì， wú lùn qù tōu qù qiǎng dōubù huì ràng jiā rén 'ái’è nà duàn， yīn wéi nà shí tā de yǎn shén hé biǎo qíng zhēn de tè bié zhèn hàn rén。 zhè yàng shuō wǒ yě bù fǎn duì， yīn wéi zhè shí zài shì yī bù tài jīng diǎn de piānzǐ， jīng diǎn de chǎng miàn tài duō， gè rén yòu gè rén de piān 'ài。 wǒ dǎo shì qíng yuàn xuǎn zé zhè gè： yǐ hòu， míng tiān jiù shì xīn de yī tiān liǎo。 shénme shì 'ài？ shénme shì hèn？ ài hé hèn kě yǐ xiàng liǎng tiáo yǒng bù xiāng jiāo de píng xíng xiàn， ài hé hèn yě kě néng zhǐ xū yào yī lǚ yáng guāng jiù kě yǐ xiāo róng。 zhēn xī yōng yòu de rén shì xìng fú de， yīn wéi wǒ men zǒng shì bìng bù què qiē zhī dào wǒ men xū yào de dào dǐ shì shénme。 tài duō de rén zhǐ yòu zài shī qù de shí hòu， cái zhī dào qù zhēn xī。
　　
　　 tài gē 'ěr yòu yī jù shī wǒ tè bié xǐ huān： rú guǒ cuò guò tài yáng shí nǐ liú lèi liǎo， nà me nǐ yě jiāng cuò guò xīng xīng liǎo。 lì jìn cāng sāng， nǐ yào xué huì hū lüè guò qù。 yīn wéi héng héng tomorrowisanotherday。
　　
　　《 piāo》 -《 piāo》 huò xuǎn yīng guó shǐ shàng zuì shòu huān yíng diàn yǐng
　　
　　 gēn jù yīng guó diàn yǐng xué yuàn jìn rì jìn xíng de yī xiàng píng xuǎn， yóu lǎo pái yǐng xīng kè lā kè · gài bó hé fèi wén lì zhù yǎn de miáo xiě měi guó nèi zhàn de yǐngpiān《 piāo》 róng huò yīng guó lì shǐ shàng zuì shòu huān yíng yǐngpiān jiǎng。 gēn jù diàn yǐng piào de xiāo shòu shù liàng tǒng jì， zì cóng 1940 nián zài yīng guó shàng yìng yǐ lái， yǐ yòu 3500 wàn guān zhòng guān kàn liǎo《 piāo》。《 yīnyuè zhī shēng》 míng liè dì 2， zì cóng 1938 nián shàng yìng yǐ lái， yòu 3000 wàn rén guān kàn。 míng liè dì 3 hé dì 4 de fēn bié shì《 bái xuě gōng zhù hé qī gè xiǎo 'ǎi rén》 (2800 wàn rén ) hé《 xīng qiú dà zhàn》 (2070 wàn rén )。 zhè cì rù xuǎn zuì shòu huān yíng de shí bù diàn yǐng páiháng bǎng de diàn yǐng sān fēn zhī yī lái zì yīng guó， qí zhōng míng liè dì 5 de shì《 kū mù féng chūn》。 zhè cì píng xuǎn huó dòng de zhù bàn fāng biǎo shì：“ zhè shì yīng guó lì shǐ shàng dì yī cì píng xuǎn zuì shòu guān zhòng xǐ 'ài de yǐngpiān。” wèi liè 6 dào 10 míng de yǐngpiān fēn bié shì《 huáng jīn shí dài》、《 sēn lín wáng zǐ》、《 tài tǎn ní kè》、《 dì yù shèng nǚ》 yǐ jí《 qī zōng zuì》。

　　Gone with the Wind, first published in May 1936, is a romantic novel written by Margaret Mitchell. The story is set in Clayton County, Georgia and Atlanta, Georgia during the American Civil War and Reconstruction and depicts the experiences of Scarlett O'Hara, the spoiled daughter of a well-to-do plantation owner. The novel is the source of the extremely popular 1939 film of the same name.
　　
　　Title
　　
　　The title is taken from the first line of the third stanza of the poem Non Sum Qualis eram Bonae Sub Regno Cynarae by Ernest Dowson: "I have forgot much, Cynara! gone with the wind". The novel's protagonist, Scarlett O'Hara, also uses the title phrase in a line in the book: when her home area is overtaken by the Yankees, she wonders to herself if her home, a plantation called Tara, is still standing, or if it was "also gone with the wind which had swept through Georgia". More generally, the title has been interpreted as referring to the entire way of life of the antebellum South as having "Gone with the Wind". The prologue of the movie refers to the old way of life in the South as "gone with the wind…."
　　
　　The title for the novel was a problem for Mitchell. She initially titled the book "Pansy", the original name for the character of Scarlett O'Hara. Although never seriously considered, the title "Pansy" was dropped once MacMillan persuaded Mitchell to rename the main character. Other proposed titles included "Tote the Weary Load" and "Tomorrow is Another Day", the latter taken from the last line in the book; however, the publisher noted that there were several books close to the same title at the time, so Mitchell was asked to find another title, and "Gone with the Wind" was chosen.
　　Plot
　　 This section's plot summary may be too long or overly detailed. Please help improve it by removing unnecessary details and making it more concise. (April 2009)
　　Overview
　　
　　Scarlett O'Hara is the daughter of an Irish immigrant who has risen from humble origins to become materially and socially successful in the deep south of 1861. He owns a plantation named Tara in Georgia. Scarlett is infatuated with Ashley Wilkes, who, although attracted to her, marries his cousin, Melanie Hamilton. Wilkes is genuinely ambiguous about his feelings toward Scarlett. He knows his feelings run deep, and are both emotional and sexual in nature; but he never resolves whether to act upon his feelings, or to renounce them and definitively reject Scarlett’s flirtations, in favor of his wife and his social position. And though he never sins in the flesh, the novel clearly implies that he does so in his heart, leading Scarlett along; limited only by his weakness in making a decision as to what ultimately, he should do.
　　
　　At the party announcing Ashley's engagement to Melanie, Scarlett meets Rhett Butler, who has a reputation as a rogue. As the Civil War begins, Scarlett accepts a proposal of marriage from Melanie's brother, Charles Hamilton, who soon dies of disease in training. Scarlett's main concern regarding his death is that she must wear black and cannot attend parties. After the war, Scarlett inherits Tara and manages to keep the place going. When Scarlett cannot get money from Rhett to pay the taxes on Tara, she marries her sister's fiancé, Frank Kennedy, takes control of his business, and increases its profitability with business practices that make many Atlantans resent her. Frank is killed when he and other Ku Klux Klan members raid a shanty town where Scarlet was assaulted while driving alone. Remorseful after Frank's death, Scarlett marries Rhett, who is aware of her passion for Ashley but hopes that one day she will come to love him instead. Scarlett eventually comes to realize that she does love Rhett, but only once the couple has been through so much that Rhett has fallen out of love with her.
　　Part one
　　
　　Scarlett O'Hara is the belle of the County. Her flirtatiousness and charm won the hearts of many men in Clayton County, Georgia. At sixteen years old, however, she begins the trials that will completely overtake her life for the next twelve years. She does this by having an impromptu marriage with the bashful Charles Hamilton to save face and make her real love—Ashley Wilkes—jealous. However, soon after their wedding, Charles and all the other men in Georgia who are able to bear arms, go to war against the Yankees at the start of the Civil War. After six weeks of being in camp, Charles dies of measles. With Charles's death, Scarlett's main concern is that, in order to conform to society, she must dress in black mourning clothes and attend no parties.
　　Parts two and three
　　
　　Scarlett moves to Atlanta to stay with her sister-in-law and Ashley’s wife, Melanie Wilkes and Melanie's Aunt Pittypat. Melanie grows to love Scarlett like a sister; however, Scarlett is very self-centered and resents Melanie. Scarlett meets Rhett Butler again while in Atlanta; he is attentive to her and she uses him (and his money) when it is convenient. Rhett has a bad reputation and is "not received" in polite society. Ashley is able to come home for Christmas from the war and stay with the ladies. At the end of his stay, Scarlett promises him that she will keep Melanie safe. With the help of Rhett and her personal slave, Prissy, Scarlett delivers Melanie's child Beau in the middle of a battle and leads Melanie, the baby and Prissy to safety back at Tara. The Civil War is ending and the northern army is marching through Georgia laying waste to the country. Upon her arrival, Scarlett hears the news of the death of her beloved mother, Ellen, of typhoid. Scarlett stays at Tara Plantation and tries to keep it solvent and care for its inhabitants.
　　Part four
　　
　　Scarlett hears that Tara is about to be charged an enormous amount of tax by the new corrupt local government which she cannot pay. She decides to go to Atlanta and charm Rhett into paying the bill. After offering herself to Rhett as his mistress and being refused, however, Scarlett marries Frank Kennedy, who has enough money to pay the tax on Tara. Frank is the fiancé of Scarlett's sister Suellen so she deceives him into thinking that Suellen is engaged to someone else in Clayton County.
　　
　　With money borrowed from and then repaid to Rhett, Scarlett buys two timber mills and proceeds to make them very profitable. Her actions are considered very inappropriate for a woman by Atlanta society. As she travels home from it one night, she is attacked. Frank, Ashley, and many other men in the newly formed Ku Klux Klan avenge her attack. In the fight, Frank is killed.
　　
　　A few months later Scarlett marries Rhett, who has become very rich by dubious means during the War.
　　Part five
　　
　　Scarlett and Rhett start to enjoy their new life together. They have a child named Eugenia Victoria "Bonnie Blue" Butler, who becomes Rhett’s pride and joy. They live happily until Scarlett’s old infatuation with Ashley takes over. When Bonnie is killed in a riding accident Scarlett in the first flush of grief tells Rhett that she blames him. Rhett is heartbroken over the death of his beloved daughter. He drinks heavily and finally decides, after the death of Melanie Wilkes, to leave Scarlett forever. However, Scarlett realizes that she loves Rhett and never truly loved Ashley, but merely an idea of him. She confesses this to Rhett, but he is adamant. The book ends on an ambiguous note, as she decided to return to the familiarity of her beloved Tara, where she will find a way to win Rhett back: "Tomorrow is another day!".
　　Characters
　　Butler family
　　
　　 * Rhett Butler – Scarlett's love interest and third husband, often publicly shunned for scandalous behavior, sometimes accepted for his charm. He is financially a very shrewd man and initially appears to love Scarlett dearly.
　　 * Eugenia Victoria "Bonnie Blue" Butler – Scarlett and Rhett's pretty, beloved daughter.
　　
　　Wilkes family
　　
　　 * Ashley Wilkes – The gallant Ashley married his unglamourous cousin, Melanie, because she represented all that he loved and wanted in life, that is, the quiet and happy life of a Southern gentleman of the "Twelve Oaks" plantation. Ashley Wilkes marries Melanie Hamilton as an arranged marriage between the Wilkes-Hamilton families; in which the marriage of cousins (which Ashley and Melanie are) is the practice; when necessary to preserve the blood line and social position of the family. As such, Wilkes is not, in the strictest sense, brought to marriage by love, money, or sexual infatuation; but by a sense of duty to preserve the socio-economic status quo of a world which he personally enjoys and agrees with; and believes this marriage will support and sustain.
　　
　　Wilkes becomes a soldier for the Confederate cause though he personally would have freed the slaves his father owned had the war not erupted, or at least that is what he claimed. Although many of his friends and relations were killed in the Civil War, Ashley survived to see its brutal aftermath. He remains the object of Scarlett's daydream of infatuated devotion, even throughout her three marriages. She is simply obsessed with unobtainable Ashley. Believing that she was in love with him, Scarlett imagined Ashley to be the "perfect man", leaving her unable to love another.
　　
　　 * Melanie Hamilton Wilkes – Ashley's wife and cousin, her character is that of the genuinely humble, serene and gracious Southern woman. As the story unfolds, Melanie becomes progressively physically weaker, first by childbirth, then the effects of war, and ultimately illness. She had her own unique inner spirit of perseverance, as did Scarlett. Melanie loved Ashley, Beau, and Scarlett unwaveringly, and dutifully supported the Confederate cause, revealing the naivete of her character.
　　 * Beau Wilkes – Melanie's and Ashley's lovable son.
　　 * India Wilkes – Ashley's sister. Almost engaged to Stuart Tarleton, she bitterly hates Scarlett for stealing his attention before he is killed at Gettysburg. Lives with Aunt Pittypat after Melanie kicks her out for accusing Scarlett and Ashley of infidelity.
　　 * Honey Wilkes – another sister of India and Ashley. Originally hoped to marry Charles Hamilton until Scarlett marries him; following the war, she marries a man from Mississippi, and moves to his home state with him.
　　 * John Wilkes – Owner of Twelve Oaks Plantation and patriarch of the Wilkes family. Killed during the Civil War.
　　
　　O'Hara family
　　
　　 * Scarlett O'Hara – The wilful protagonist of the novel, whose travails the novel follows throughout war and reconstruction. She marries Charles Hamilton, Frank Kennedy and Rhett Butler, all the time wishing she was married to Ashley Wilkes instead. She has three children, one from each husband: Wade Hampton Hamilton (son to Charles Hamilton), Ella Lorena Kennedy (daughter to Frank Kennedy) and Eugenia Victoria "Bonnie Blue" Butler (deceased daughter to Rhett Butler).
　　 * Gerald O'Hara – Scarlett's impetuous Irish father.
　　 * Suellen O'Hara – Scarlett's selfish sister.
　　 * Carreen O'Hara – Scarlett's timid, religious sister who, in the end of the story, joins a convent.
　　 * Ellen O'Hara – Scarlett's gracious mother, of French ancestry.
　　
　　Other characters
　　
　　 * Mammy – Scarlett's nurse from birth; a slave. Cited by Rhett as "the real head of the household." She has a no-nonsense attitude and is outspoken and opinionated. She chastises Scarlett often. She is extremely loyal to the O'Haras, especially Scarlett, whom she cares for like a daughter.
　　 * Prissy – A young slave girl who features in Scarlett's life. She is portrayed as flighty and silly.
　　 * Pork – The O'Hara family's butler, favored by Gerald.
　　 * Dilcey – Pork's wife, a strong, outspoken slave woman of mixed Indian and Black decent, Prissy's mother.
　　 * Charles Hamilton – Melanie's brother, Scarlett's first husband, shy and loving.
　　 * Frank Kennedy – Suellen's former beau, Scarlett's second husband, an older man who only wants peace and quiet. He originally asks for Suellen's hand in marriage, but Scarlett steals him to save Tara. He is portrayed as a pushover who will do anything to appease Scarlett.
　　 * Belle Watling – a brothel madam and prostitute; Rhett is her friend. She is portrayed as a kind-hearted country woman and a loyal confederate. At one point she states she has nursing experience.
　　 * Archie – an ex-convict and former Confederate soldier who is taken in by Melanie. Has a strong disliking for all women, especially Scarlett. The only woman he respects is Melanie.
　　 * Jonas Wilkerson – former overseer of Tara, father of Emmie Slattery's illegitimate baby. After being dismissed because of the aforementioned he eventually becomes employed by the Freedmen's Bureau, where he abuses his position to get back at the O'Haras and becomes rich.
　　 * Emmie Slattery – later wife of Jonas Wilkerson, whom Scarlett blames for her mother's death.
　　 * Will Benteen – Confederate soldier who seeks refuge at Tara and stays on to help with the plantation, in love with Carreen but marries Suellen to stay on Tara, and repair her reputation. He is portrayed as very perceptive and lost half of his leg in the war.
　　 * Aunt Pittypat Hamilton – Charles and Melanie's vaporish aunt who lives in Atlanta.
　　 * Uncle Peter – Aunt Pittypat's houseman and driver, he is extremely loyal to Pittypat.
　　
　　Setting
　　
　　 * Tara Plantation – The O'Hara home and plantation
　　 * Twelve Oaks – The Wilkes' plantation.
　　 * Peachtree Street – location of Aunt Pittypat's home in Atlanta
　　
　　The novel opens in April 1861 and ends in the early autumn of 1873.
　　Politics
　　
　　The book includes a vivid description of the fall of Atlanta in 1864 and the devastation of war (some of that aspect was missing from the 1939 film). The novel showed considerable historical research. According to her biography, Mitchell herself was ten years old before she learned that the South had lost the war. Mitchell's sweeping narrative of war and loss helped the book win the Pulitzer Prize on May 3, 1937.
　　
　　An episode in the book dealt with the early Ku Klux Klan. In the immediate aftermath of the War, Scarlett is assaulted by poor Southerners living in shanties, whereupon her former black slave Big Sam saves her life. In response, Scarlett's male friends attempt to make a retaliatory nighttime raid on the encampment. Northern soldiers try to stop the attacks, and Rhett helps Ashley, who is shot, to get help through his prostitute friend Belle. Scarlett's husband Frank is killed. This raid is presented sympathetically as being necessary and justified, while the law-enforcement officers trying to catch the perpetrators are depicted as oppressive Northern occupiers.
　　
　　Although the Klan is not mentioned in that scene (though Rhett tells Archie to burn the "robes"), the book notes that Scarlett finds the Klan abominable. She believed the men should all just stay at home (she wanted both to be petted for her ordeal and to give the hated Yankees no more reason to tighten martial law, which is bad for her businesses). Rhett is also mentioned to be no great lover of the Klan. At one point, he said that if it were necessary, he would join in an effort to join "society". The novel never explicitly states whether this drastic step was necessary in his view. The local chapter later breaks up under the pressure from Rhett and Ashley.
　　
　　Scarlett expresses views that were common of the era. Some examples:
　　
　　 * "How stupid negroes were! They never thought of anything unless they were told." — Scarlett thinks to herself, after returning to Tara after the fall of Atlanta.
　　 * "How dared they laugh, the black apes!...She'd like to have them all whipped until the blood ran down...What devils the Yankees were to set them free!" — Scarlett again thinking to herself, seeing free blacks after the war.
　　 * However, she is kind to Pork, her father's trusted manservant. He tells Scarlett that if she were as nice to white people as she is to black, a lot more people would like her.
　　 * She almost loses her temper when the Yankee women say they would never have a black nurse in their house and talk about Uncle Peter, Aunt Pittypat's beloved and loyal servant, as if he were a mule. Scarlett informs them that Uncle Peter is a member of the family, which bewilders the Yankee women and leads them to misinterpret the situation.
　　 * It was mentioned that only one slave was ever whipped at Tara, and that was a stablehand who didn't brush Gerald's horse. The only time Scarlett hit a slave was when Prissy was hysterical.
　　 * Scarlett at one point criticized Harriet Beecher Stowe's Uncle Tom's Cabin, saying no one treated their slaves that badly.
　　
　　Inspirations
　　
　　As several elements of Gone with the Wind have parallels with Margaret Mitchell's own life, her experiences may have provided some inspiration for the story in context. Mitchell's understanding of life and hardship during the American Civil War, for example, came from elderly relatives and neighbors passing war stories to her generation.
　　
　　While Margaret Mitchell used to say that her Gone with the Wind characters were not based on real people, modern researchers have found similarities to some of the people in Mitchell's own life as well as to individuals she knew or she heard of. Mitchell's maternal grandmother, Annie Fitzgerald Stephens, was born in 1845; she was the daughter of an Irish immigrant, who owned a large plantation on Tara Road in Clayton County, south of Atlanta, and who married an American woman named Ellen, and had several children, all daughters.
　　
　　Many researchers believe that the physical brutality and low regard for women exhibited by Rhett Butler was based on Mitchell's first husband, Red Upshaw. She divorced him after she learned he was a bootlegger amid rumors of abuse and infidelity. Some believe he was patterned on the life of George Trenholm.
　　
　　After a stay at the plantation called The Woodlands, and later Barnsley Gardens, Mitchell may have gotten the inspiration for the dashing scoundrel from Sir Godfrey Barnsley of Adairsville, Georgia.
　　
　　Belle Watling was based on Lexington, Kentucky, madam Belle Brezing.
　　
　　Martha Bulloch Roosevelt, the mother of US president Theodore Roosevelt may have been an inspiration for Scarlett O'Hara. Roosevelt biographer David McCullough discovered that Mitchell, as a reporter for The Atlanta Journal, conducted an interview with one of Martha's closest friends and bridesmaid, Evelyn King Baker, then 87. In that interview, she described Martha's physical appearance, beauty, grace, and intelligence in detail. The similarities between Martha and the Scarlett character are striking.
　　Reception
　　
　　The sales of Margaret Mitchell's novel in the summer of 1936, at the virtually unprecedented price of three dollars, reached about one million by the end of December. Favorable critics found in the novel and its success an implicit rejection of what one reviewer dismissed as "all the thousands of technical tricks our novelists have been playing with for the past twenty years," while from the ramparts of the critical establishment almost universally male reviewers lamented the book's literary mediocrity and labeled it mere "entertainment." [citation needed]
　　Symbolism
　　
　　Over the past years, the novel Gone with the Wind has also been analyzed for its symbolism and treatment of archetypes. For example, Scarlett has been characterized as a heroic figure struggling and attempting to twist life to suit her own personal wishes in society. The land is considered a source of strength, as in the plantation Tara, whose name is almost certainly drawn from the Hill of Tara in Ireland, a mysterious and poorly-understood archeological site that has traditionally been connected to the temporal and/or spiritual authority of the ancient Irish kings. It also represents the permanence of the land in a rapid changing world. Scarlett’s beautiful, perky hats take part of the symbolism as well. They show her feminine side and how she wants nothing more than to be the most attractive woman and the center of attention.
　　Sequels
　　
　　Although Mitchell refused to write a sequel to Gone With The Wind, Mitchell's estate authorised Alexandra Ripley to write the novel Scarlett in 1991.
　　
　　Author Pat Conroy was approached to write a follow-up, but the project was ultimately abandoned.
　　
　　In 2000, the copyright holders attempted to suppress publication of Alice Randall’s The Wind Done Gone, a book that retold the story from the point of view of the slaves. A federal appeals court denied the plaintiffs an injunction against publication in Suntrust v. Houghton Mifflin (2001), on the basis that the book was parody protected by the First Amendment. The parties subsequently settled out of court to allow the book to be published. After its release, the book became a New York Times bestseller.
　　
　　In 2002, the copyright holders blocked distribution of an unauthorised sequel published in the U.S, The Winds of Tara by Katherine Pinotti, alleging copyright infringement. The story follows Scarlett as she returns to Tara where a family issue threatens Tara and the family's reputation. In it Scarlett shows just how far she will go to protect her family and her home. The book was immediately removed from bookstores by publisher Xlibris. The book sold in excess of 2,000 copies within 2 weeks before being removed. More recently, in 2008, Australian publisher Fontaine Press re-published "The Winds of Tara" exclusively for their domestic market, avoiding U.S. copyright restrictions.
　　
　　A second sequel was released in November 2007. The story covers the same time period as Gone with the Wind and is told from Rhett Butler’s perspective – although it begins years before and ends after. Written by Donald McCaig, this novel is titled Rhett Butler's People (2007).
　　Adaptations
　　
　　Gone With The Wind has been adapted several times for stage and screen, most famously in the 1939 film starring Clark Gable and Vivien Leigh.
　　
　　On stage it has been adapted as a musical Scarlett (premiering in 1972). The musical opened in the West End followed by a pre-Broadway tryout in 1973 (with Lesley Ann Warren as Scarlett). The book was again adapted as a musical called Gone With The Wind which premiered at the New London Theatre in 2008 in a production directed by Trevor Nunn.
　　
　　The Japanese Takarazuka Revue has also adapted the novel into a musical with the same name. The first performance was in 1977, performed by the Moon Troupe. It has been performed several times since by the group, the most recent being in 2004 (performed by the Cosmos Troupe).
　　
　　There has also been a French musical Autant en Emporte le Vent, based on the book.
　　Awards
　　
　　The novel won the 1937 Pulitzer Prize and was adapted into an Academy Award-winning 1939 film of the same name. The book was also adapted during the 1970s into a stage musical Scarlett; there is also a 2008 new musical stage adaptation in London's West End titled Gone With The Wind. It is the only novel by Mitchell published during her lifetime. It took her seven years to write the book and a further eight months to check the thousands of historical and social references. The novel is one of the most popular books of all time, selling more than 30 million copies. Over the years, the novel has also been analyzed for its symbolism and treatment of archetypes.
　　
　　Time magazine included the novel in its TIME 100 Best English-language Novels from 1923 to 2005.