Shortly after entering primary school, her father continued to marry. She doesn't like her stepmother, and neither does her stepmother. My father always stood by his stepmother and began to alienate her. Only my grandmother is her dependent relative. Because of the bad family environment, she developed a sad and withdrawn character very early, and was used to studying in "loneliness, sadness and coolness" and surviving in "loneliness and coolness". Jiang Guangci's wife, Song Ruoyu, is a female teacher in a primary school. She noticed her and gave her great help, guiding her to study literary creation. In loneliness, she regards books as her confidants. Although it can't replace maternal love, it helps her find a place to escape. With the deepening of new literature and art after the May 4th Movement, rebellious thoughts began to sprout in her heart, and her desire to get out of this feudal family became stronger and stronger.
All this finally came true when she was about to graduate from junior high school. One day, she overheard the conversation between her father and stepmother on the pomegranate tree outside her father's house. When she heard that they were going to let her drop out of school and get married as soon as possible, she seemed to be hit by a bolt from the blue and trembled with anger. She finally realized that this feudal family could no longer accommodate her, and they even had to arrange her lifelong events. They want to kick her out of the house through this feudal marriage at the expense of her for profit. She realized that escape was the only way out, and she shouted in her heart, "I can't stand it!" " I want to study, I want to study! " .
1929 On a dark and cold winter night, 15-year-old Zhao Qingge finally made up his mind. Her loving grandmother's only four silver dollars quietly fled Xinyang's hometown and got on the night train to Kaifeng, ending her only family life in her life and beginning to face the challenge from wandering life.
Without special training, she was admitted to Henan Art High School and got a grant. After leaving home, she was penniless and finally had a living guarantee and a relatively stable study environment. During the art high school, her main courses were painting and art introduction, and she also studied music. After two years of solid training, her western paintings, sketches and Chinese paintings have all improved a lot. She often learns music theory from Xie Menggang, director of the school's academic affairs office, and borrows many famous Chinese and foreign literary works from Jiao Duanchu, director of the school. She loves Tang poetry and Song poetry, and the works of Tolstoy and Balzac. Influenced by them, she began to write poems to express her dissatisfaction with real life and attack the darkness of the old society. 1930, she contributed to Kaifeng People's Daily for the first time, and the manuscript was published. She was only 16 years old. Subsequently, her creative desire became stronger and stronger, and her creative enthusiasm became higher and higher.
Since then, she has been engaged in the editorial work of the Republic of China Daily in Henan, and enriched herself by going to Henan University. At the same time, she also teaches in poor primary schools in the workhouse. There, she contacted many lower-class people and was deeply sympathetic to them, but she also felt unfair and indignant at the social ugliness caused by the disparity between the rich and the poor. She dimly yearns for revolution, freedom and equality. At that time, she was the editor-in-chief of the literary weekly of New Henan Daily and the women's weekly of Republic of China Daily, and often wrote articles on "Don't hit people" for Henan People's Daily, New Henan Daily and Shanghai Women's Monthly, expressing her views and exposing the darkness of reactionary rule. However, her naive and honest behavior angered the newspaper, which made her politically threatened and denounced as a dangerous person.
As the situation became more and more tense, with the encouragement and help of her teachers and friends, she left Henan and 1933 went to Shanghai to start another life. Shanghai in the 1930s was a place where dreams were made. The modern economy has made Shanghai unprecedentedly prosperous, and the bustling Shanghai has filled many China women with yearning. Zhao Qingge came here alone after studying in an art high school for three years with a vision of future life. /kloc-before the age of 0/8, she became a lonely child because of the loss of maternal love; /kloc-after 0/8 years old, she actively devoted herself to the torrent of Shanghai times and grew into a strong grass in the wind and rain.
1933 was admitted to Shanghai Academy of Fine Arts and studied western painting under Professor Ni Yide, who is both a painter and a writer. At this time, her melancholy temperament and stubborn character became more and more obvious. Because she has no money to pay the tuition, she would rather go to work-study program than ask her stepmother for it. The reality of life inspires her to think, and the brush reveals her thoughts. In her collection of novels Phoenix, she said that she likes loneliness and silence. She thought about how to fight her way out in "silence", so she added disdain and tenacity to her character.
As a student of art college, she worked harder in writing, gradually became the basic writer of Women's Monthly edited by Huang Xinmian, and also served as the editor of Star Daily published by Shanghai Tianyi Film Company, and began her work-study program. In the end, she became a writer instead of a painter, and she was willing to pay attention to more complicated society and life.
1934 In the spring, she sent a poem to Mr. Lu Xun for advice. Lu Xun wrote back soon, expressing concern and warmly receiving her. In her literary career, although it was only a short moment, it left a deep memory for her and gave her eternal inspiration. Later, influenced by Ding Ling's work Water, she wrote a short story Drought, which was collected and published by Shanghai Women's Bookstore 1935, based on the miserable situation of her hometown, Henan Province, where thousands of miles of bare land, hunger and cold, and farmers fled. At the same time, she also learned drama creation from Zuo Ming of Modern Drama Club, Hong Shen of Fudan Drama Club, Tian Han and other left-wing playwrights. They are the directors of Tianyi, and they often encourage her to be not only a professional female film writer, but also a director. This has a great influence on her. During this period, she also met many progressive films and dramatists, such as,, Chen Ningqiu, Yuan,, An Ehe and learned a lot from them. At school, she participated in the student union of "Art College", continued to go deep into the lower classes, personally felt their sufferings, and gradually got a better understanding of the life of the Shanghai colony, laying the foundation for better creation in the future.
After graduating from Art College, she left Shanghai and returned to Kaifeng, where she was employed as a teacher at her alma mater's Art High School. It was summer vacation, and she wrote some essays criticizing the disadvantages of the times. Because two of them were considered as "suspects", she was sentenced to six months in prison. After being released from prison, she got rid of the spy's tail and returned to Shanghai. She was the editor-in-chief of Women's Bookstore, the editor-in-chief of Women's Monthly, and a screenwriter in a film company.
Although she was repeatedly threatened by secret agents and lived in anxiety, she still fought tirelessly to join the revolutionary ideal. Liu Yichang
In the article, Mr. Wang said that her national concept is particularly strong, she has a conscience, and she is willing to assume the responsibility of a husband. After the outbreak of War of Resistance against Japanese Aggression, she went to Wuhan to join the All-China Anti-Enemy Association of Literary and Art Circles and tried her best to write a script. She believes that the propaganda function of drama is far greater than other forms of expression, hoping to awaken the national consciousness of the public. Later, she went to Chongqing, the rear area under the white terror. Although there is no light under the deep dark clouds, several bright lights shine on her heart day and night. "At that time, a bright torch was lit in the depths of my soul, and the whole Chinese nation's heart, which has been suppressed by hatred of Japan, began to be free! No one is naturally standing on the same front and fighting for the same goal of "defending the enemy." No one has the greatest hope and the belief in victory. " This is a memory in her essay A Journey to Hanchuan 65438-0938. During her stay in Chongqing, she also met Zhou Enlai twice.
1945165438+10. Soon after the victory of the Anti-Japanese War, she couldn't wait to return to Shanghai, a long-lost and riddled city. Although the dark rule made her situation more difficult, she still insisted on doing some work that was beneficial to the revolution. She served as the editor-in-chief of the supplement of China Guardian and taught at Shanghai Theatre Academy until 1979 when she was transferred to Shanghai Academy of Social Sciences to study and adapt A Dream of Red Mansions. Although many revolutionary writers left one after another during 1947, she never left. Zhao Qingge's long journey and once cruel prison life tortured her body and mind. She suffered from early lung disease and her thoughts became negative, which was the low tide of her life. However, she did not become a pessimist in the struggle against the disease because of lack of medical care. She fought with iron will and perseverance, but she became a stubborn optimist.
Xu Guangping recalled: She was very student-like, quiet, and Xiao Hong were two completely different personalities. Accustomed to loneliness and loneliness since childhood, she likes to express all her feelings in words. She began to write when she was a little girl. Whenever she feels that the picture can't express all the tragedies she witnessed, she turns it into words. That's how her "Dapu Bridge" was written. From 1933 to the outbreak of War of Resistance against Japanese Aggression, most of her short stories were included in two collections, Drought and Autumn in North China.
After the "July 7th Incident" broke out, the anti-Japanese bonfire aroused her greater enthusiasm for writing and made her find the positive meaning of life. Even though illness has been bothering her, she still works tirelessly. She went to Hankou to promote the anti-Japanese monthly literary magazine Bomb Flower for the editor-in-chief of China Book Company. The so-called "bouncing flowers" means that the bullets of the anti-Japanese war will surely bloom victorious flowers. This just satisfies her desire to be close to the revolutionary rear. Later, the demand in Wuhan was in short supply. In order to continue the "jumping flowers", she had to go back and forth between Wuhan and Chongqing by boat. She described this difficult wandering life in A Journey to Hanchuan and expressed her determination to persist in anti-Japanese propaganda: "After all, I can't bear to stop it. When I was founded, I thought of all the hardships. I only got up after eating all kinds of hardships. Although it doesn't have much effect, at least since its publication, hundreds of books have been in the hands of soldiers in front of the first and fifth war zones in turn, so that they can get some words from their compatriots on the rear fire line. " Only in this way can the bouquet survive in this great era ... I will continue to support her growth, and I can't give up this responsibility ... "
Although she has published many novels, she feels that her desire is still unsatisfied. She felt that only by expressing the scene completely at that time and vividly reappearing her life in words could she be satisfied. She thinks that novels limit the vividness of artistic images, so with the encouragement of Hong Shen and others, she has the desire to try to write a film literary script.
1936, she published the first model screenplay of film literature in the monthly magazine Women's Culture. 1938 10 Her drama collection Blood Debt was published by Chongqing Independent Publishing House. Later, she wrote more than 20 feature-length plays and three one-act plays, including Wang Jingwei's Treachery for Glory, Love for Life and Death, Bright Moon and Breeze, Guan Yu and Mulan. For a time, dramatists staged performances to save the nation, and drama became the most popular form of fighting.
Among her plays, her favorite is Live (also known as Rain Beats Pears). She said, "I like Living, but I dare not say Living is good." Live is a "warm" drama that is biased towards psychological portrayal and slightly literary. She has neither lively scenes nor so-called "gimmicks", but honestly shows the theme of stimulating patriotic thoughts and anti-Japanese war sentiment, and does not pay too much attention to "business." "At this point, if you don't look at her from the eyes of the theater owner, maybe you will like her as much as I do."
Dissatisfaction with reality made her writing desire out of control. In addition to these patriotic works, she also has many dramas reflecting the anti-imperialist struggle, such as the five-act drama Woman Jie, the four-act drama Lady Xiaoxiang, and the five-act drama This Hate adapted from Wuthering Heights by British woman writer Bronte. In her works, every character is full of indomitable fighting spirit and vigorous tragic temperament. She also collaborated with Lao She to create a four-act drama "Peach and Plum Spring Breeze" (also known as "Golden Sound and Jade Zhen"). She believes that the creation of this script "aims to praise the integrity and sacrifice of educators, advocate respecting teachers and giving educators more comfort and encouragement." She is also very satisfied with the process of cooperation and thinks that she has achieved the effect of learning from each other's strengths: "I just wrote' grass', and the words were compiled by him ... Lao She's dialogue is very humorous. For example, although the plots of the first act and the second act are too calm, the dialogue has reconciled the air and the performance won a lot of applause. But if you look at her with half an appreciation of art, then she can let you find two precious things: one is the highest feelings of human beings-family, teachers and students; The second is conscience-education and life. "
Although she has created many works, her literary achievements have not satisfied her, and she is still creating and advancing. She once said, "If my illness no longer afflicts me, my life can go on. I would rather dedicate my life to literature and art, study forever and work hard forever ..." Although the illness has been threatening her, it may even kill her, but she still lives vigorously, taking literature and art as the ultimate goal. During this period, she continued to explore and created many works on drama theory, such as An Introduction to Anti-Japanese War Drama, An Introduction to Anti-Japanese War Literature and Art, and The Methodology of Movie Scripts, thus improving her creative level.
After the victory of the Anti-Japanese War, she published a collection of one-act dramas and a collection of short stories, Falling Leaves, and created many novellas such as Smoke on the River, Soul of Art, Novels Flying Together, Willow on the Moon and so on. Back in Shanghai, she lived in Hongkou, closed the door and thanked the guests, but she kept writing and never stopped writing. This is how several storms were born. This is her first film. The second film, Dead Hua Lian, became a very popular film at that time, because it objectively reflected the situation of the prostitute industry in modern Shanghai. This is a special group, a real dark corner that is rarely paid attention to. Later, he created plays such as My Daughter's Spring and Free World. After the downfall of the Gang of Four, she wrote Black, Pink and Green, and published many poems and essays in People's Daily, Reading and Battlefield, which can be described as a "prolific" writer. Zhao Qingge has always been single. She lives alone with her maid, Ms. Wu. She often writes articles in newspapers, but refuses to write a biography for herself. Even so, she was not lonely all her life. She was lucky enough to know many teachers and friends and get their friendship and care.
Guo Moruo was the most admired person in her early years. She read Guo Moruo's Goddess and Young Werther in middle school. When she was in Shanghai, she expressed her willingness to join the revolution to Guo Moruo because of her admiration and yearning for the revolutionary rear area. Guo Moruo asked her in her reply: "We are the Red Gang, which is' near Zhu Zhechi'. Are you afraid? " She replied, "I will go even if I kill someone near Guo!" " A word spoken is past recalling. 1937 She really went after the outbreak of the Anti-Japanese War. She went to Wuhan to visit the Air Force Brigade of the Soviet Volunteers, and also went to Chongqing to listen to Guo Moruo's speech on the rise and fall of the country and the responsibility of every man-"Women are half of mankind", which was published in the monthly magazine Bomb Flower edited by her. When she wrote to Guo Moruo, she called him "Mo Weng". When Guo Moruo wrote back, he signed it as "Yugong". He explained humorously to her, "Call me Weng, I'm not old yet." "Yu Gong" means that the upper and lower structural positions of the word "Weng" are reversed. Do you think an old man like me can still somersault in front of you? Do you think I'm old? Later, Guo Moruo wrote a five-character quatrain for her: "A thousand glasses of wine are full of lofty sentiments, a flower blooms in the heart of Jin, an ancient temple stays in Jinyun, and tea is shared with her." Summarized her personality, temperament and contribution to literature and art.
Her friendship with Mao Dun lasted the longest and the deepest. They met at 1937. As an editor at that time, she often asked Mao Dun for manuscripts. Although they lived in Beijing and Shanghai after the liberation of the country, this problem has never stopped. It was only during the Cultural Revolution that we lost contact for a while. It was not until the late spring of 1975 that she fell ill and asked her friends about Mao Dun's recent situation that she knew a little. She also took the risk of writing a letter to Mao Dun, briefly describing the recent situation in order to report peace. After the letter, she copied a poem "Recalling the Past of the West Lake": "At dusk, before drinking tea in the western world, the boat was full of wine on the moonlit night; Hong Lao asked for relief from divination, and Mao knew that he was insane. " In order to ask about the arrival of the "second liberation". Mao Dun, who was 80 years old at that time, admired her very much and wrote a long poem "Qing Gu Xing" as a gift for her, which was later included in Mao Dun's poems.
Years of suffering weakened her courage. 1976 On Mao Dun's 80th birthday, she carefully drew a picture of Qiu Jiang solitary sail for him, with a small shaft of mountains and rivers. When she was ready to send it, she felt that the title sentence was inappropriate and was afraid of getting into trouble, so she only left the next paragraph. Mao Dun wrote back after reading it: "Qiu Jiang's solitary sail is very elegant. What I despise is that if the original title is cut, the whole page will be destroyed. It should be treasured and not shown to others. " She just gave up. After smashing the Gang of Four, Mao Dun wrote two poems to her to celebrate their "second liberation".
Liang Shiqiu, the owner of Yashe, also has a close personal relationship with her and has a happy cooperation. From 65438 to 0943, she was moved by Liang Shiqiu's translation of Wuthering Heights by British woman writer Bronte, and her translation was included in the Yellow River Literature and Art Series edited by her and published. Later, she communicated with Liang Shiqiu and adapted it into a drama "This Hate". The play was later performed by Chongqing National Opera School at that time and was well received. After Japan surrendered, they separated from each other and lived in the old place. During the period of 1986, when she met Zhou Cezong, a Chinese-American professor, at the International Symposium on A Dream of Red Mansions in Harbin, she also asked about Liang Shiqiu's recent situation and made an excuse to say hello.
During the Chongqing War, she worked with Lao She in the Federation of Literary and Art Circles. She admires Lao She's talent very much, and her admiration is often beyond words. She kept a large number of personal letters from Lao She. In her later years, she donated her paintings and calligraphy to the country. All the copies are hung at home. The only authentic copy left is Lao She's couplet: "Clear flute rhyme with a little drunkenness, Cui Ge Hua Qin Shu." The small print on the side is "Celebrate Brother's Longevity" and the inscription is "Best wishes from Lao She". It hangs on the wall in front of her bookcase and gets along with her day and night.
In the late period of the Anti-Japanese War, due to the success of the adaptation of A Dream of Red Mansions, she was praised as the best female writer to interpret A Dream of Red Mansions by drama. She said that this is inseparable from Bing Xin's encouragement to her. Later, she and Bing Xin often wrote many times about health problems.
In her later years, she made beautiful picture books, and most of her paintings were collected. Next to each painting are inscriptions by Guo Moruo, Bing Xin, Zhang Henshui and others. She has correspondence with many people in the cultural circle. These manuscripts talk about poetry, painting and current affairs, which are brilliant and precious. Later, she gave them to the Shanghai Library. Tian Han once wrote a seven-law: "Yan Zhao has many strange women, and the Qing court is like a healthy man." The side cover is less greasy, and pouring a cup can make a soldier talk. Is it because spring water knows how cold and warm it is, and it is not sweet to wait for camellia? Dare to record paintings from Jialing, such as Henan rain. "People who know this prolific woman writer say that she is' cold' and manly. Not exactly. Masculinity is good, but she is not a writer who lacks enthusiasm. A person without enthusiasm can't write exciting works. She just prefers to put her passion into her works instead of wearing it as a mask on her face.
After 1945, she lived in Shanghai most of the time. She not only joined the Chinese Writers Association, the Chinese Dramatists Association, the Shanghai Dramatists Association and the Film Workers Association, but also served as a member of the Shanghai Federation of Literary and Art Circles. In two or three years, she wrote many plays, including Daughter Spring and Free World. She also used popular language to write many beautiful folklore and classical masterpieces into novels and dramas, such as the novel Liang Zhu, Yue's play Peach Blossom Fan, and the five-act drama Jia Baoyu and Lin Daiyu, so that more working people can understand China's excellent literary heritage.
After the Cultural Revolution began in the mid-1960s, millions of intellectuals suffered greatly, and she was certainly not spared. She was criticized and deprived of her property. Excessive mental persecution made her suffer from cerebral thrombosis and paralyzed for several years. She later recalled: "It was a narrow escape!" .
After smashing the Gang of Four, she was rehabilitated and her creative enthusiasm was renewed. She wrote the film literary script "Black Powder and Green", which vividly showed the different experiences of artists in the old and new societies, and also published many poems and essays.
In the 1980s, he published a collection of essays, such as Memories of the Sea, Tales of Floating Clouds, Floating Life as a Dream, Past Events as Smoke, Drama of a Dream of Red Mansions, etc. After 1990, although no major works were published, many articles were also published in Shanghai Wen Wei Po, Xinmin Evening News and Jiefang Daily. In her own words, "She is old, ill, and has a good brain. She has been writing and writing essays for three or five hundred words a day."
"Seeing sex directly, seeing love softly." As a writer and playwright, Zhao Qingge has lived in the literary world of China for decades with the changing situation. With her unique artistic expression, she showed people a unique historical picture, wrote colorful novels, essays, poems, plays and movie scripts, and made outstanding contributions to China's new literature.