18-year-old Gao Juemin and his younger brother Gao Juehui are both young people who are keen on new ideas. Chueh-min fell in love with his aunt's daughter Qin, and Chueh-hui also had his own sweetheart Ming-feng.
Chueh-hsin is the eldest of the two brothers and the eldest son of the Gaos. He loved his cousin deeply, but accepted Miss Li Ruijue, who was chosen by his father by lottery, and got engaged and married like a puppet.
One month after my marriage, I went to work in Xishu Industrial Company, and my father was a director. I completely gave up my ideal. A year later, his father died, and Chueh-hsin shouldered the burden of the family. The intrigue between the whole family disgusted him. He must be careful to avoid conflict with them.
Fortunately, her new wife Jui-chueh is beautiful and kind, which gives him a lot of comfort. The birth of their son Haier made Chueh-hsin even happier, and he was determined to put his legacy on his son to realize it. Two years later, the May 4th Movement broke out, and new ideas awakened his long-lost youth. But he is still not as progressive as his two younger brothers, and he is often ridiculed by them as "bowing his head" and "no rebel".
China writer Ba Jin's novel Home is the first part of Riptide Trilogy, and the other two are Spring and Autumn. It was first serialized by 193 1 in The Times, and the original article was titled Riptide. Ming Kai Bookstore published the first booklet of Home in May, 1933.
The novel describes the sin and decay of a big feudal family in Chengdu, Sichuan in the early 1920s, accuses the feudal system of destroying life, and praises the anti-feudal struggle and the awakening of democracy of the younger generation. Home is considered as one of Ba Jin's representative works, and it was selected as one of the top 100 novels of China in the 20th century (No.8).
Extended data:
The mode of telling family stories in Home is very typical in the enlightenment discourse, which has played a strong demonstration role in the later family novel creation. Criticizing and completely denying the traditional family system and feudal ethics has also become a lasting and powerful theme of this kind of novels.
For example, Duanmu Hongliang's Horqin Banner Grassland, Lu Ling's The Son of the Rich Man, Mao Dun's Frosty Leaves as Red as February Flowers, Lao She's Teahouse and Camel Xiangzi are all the same, which to some extent inherited the structural pattern of father-son opposition in Home.
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