Text/Ye Zhiqiu
This is the modern American literary world more than 70 years before China's lawsuit, from which many thoughts can be aroused.
1927, after the failure of the Great Revolution, the China Revolution was at a low ebb. In order to strengthen the creative society, strengthen the cultural United front team, and expand the influence of left-wing literature and art among young readers, Guo Moruo wanted to unite Lu Xun and * * * against the cultural encirclement and suppression of the Kuomintang, and he also took practical actions. He said:
I like the creative club, especially its influence on young people, so I want to do some cover work for it while strengthening it. How to strengthen? In terms of personnel, I initiated and Yang Hansheng participated. At the same time, through the activities in Zhengzhou and Zhengzhou, please cooperate with Lu Xun. Lu Xun also returned to Shanghai from Guangzhou at that time. He generously agreed to my invitation for cooperation. From the first step, we once published an announcement in the newspaper and resumed the establishment of a weekly newspaper. This notice is led by Mr. Lu Xun, and my name ranks second in Macon, followed by Cheng, Zheng,
When Lu Xun was in Guangzhou, he also said that he would form a United front with the creation society. In a letter to Li on September 25th (1927), Lu Xun said: The Creation Society and we seem to have a good relationship now. Unfortunately, they are under pressure in the south. At present, only the Creative Society, the Unnamed Society and the Zhong Zhong Society have made great efforts in literature and art, and nothing else. If all three societies are silent, China will really become a desert. There is no hope in the south.
It seems that Lu Xun's wish to launch a new revolutionary literature movement with his colleagues in Shanghai Creation Society has come true. However, to Lu Xun's surprise, not only the alliance failed, but also an argument began.
It turns out that young artists such as Cheng, Li, Feng Naichao and Zhu Jingwu who have just returned from Japan are firmly opposed to the resumption of weekly newspapers and the cooperation with Lu Xun. They founded a cultural criticism magazine, and joined hands with the Sun Society composed of Jiang Guangci and Qian Xing to advocate the proletarian revolutionary literature movement. Guo Moruo not only compromised the practices of these members of the later creation society, but also participated in the implementation of the left literary line.
Guo Moruo's Tree of Heroes, Dancing on the Table, Echo of the Phonograph, Investigation of Young Artists' Attitude and Li's article From Literary Revolution to Revolutionary Literature before his exile in Japan theoretically expounded the basic contents, nature and tasks of proletarian revolutionary literature. They all tried to make literature free from the influence of bourgeois ideology and consciously. It should be said that these people still dare to advocate the proletarian revolutionary literature movement under the high-handed policy of the Kuomintang, and their historical achievements are undeniable. However, their propaganda theories and slogans are deeply influenced by Japanese Fukumoto Kazou, and there are left mistakes. For example, it exaggerates the role of literature and art, saying that literature and art can organize life, create life and transcend life; Advocate the creative method of dialectical materialism and describe romantic literature as counter-revolutionary literature. While claiming to be the spokesmen of the proletariat, they rejected many colleagues in the literary and art circles, expanded the scope of attack, said that most writers were counter-revolutionaries, put forward the slogan of overthrowing petty-bourgeois bachelors and gentry literature, and advocated criticizing writers such as Lu Xun, Ye Shengtao and Yu Dafu.
Guo Moruo said that the criticism of Lu Xun by the later creation society was a criticism of social consciousness. Their criticism is not limited to Lu Xun alone, but the whole culture. The teacher criticized by Lu Xun is a cultural department or a part of social consciousness. That is to say, later, the backbone members of the Creation Society, with Guo Moruo as the coach, decided that Lu Xun represented the declining feudal class in the literary and art circles, so they should spare no effort to crack down.
The person who signed Du Quan said in the article "Feudal Remnants on the First Literary Front" that he was a feudal remnant before capitalism. Capitalism is a counter-revolution to socialism, while feudal remnants are a double counter-revolution to socialism. It is completely wrong to say that Lu Xun is a wanderer in the transitional period between the old and the new, and that he is a humanitarian. He is a failed fascist. Guo Moruo added three charges to Lu Xun in this passage: feudal remnants, double counter-revolution and fascism. In addition to Guo Moruo, Feng Naichao also criticized the old teacher Lu Xun in his article Art and Social Life. He often looks out of the window from the dark restaurant building. He often looks back on the past and mourns the decline of feudal thought. As a result, he only reflected the sadness in the period of social change and said a few beautiful humanitarian words to his boring brother. Seclusion! Cheng also criticized Lu Xun in the article, saying that it was recently rumored that he bought social science books to read, but there was a question immediately: Does he really want to be a loyal disciple of social science? Or are you just painting to whitewash your decline? The latter road is a cover-up, a deeper and more hopeless decline. They portrayed Lu Xun as a decaying old man with yellow teeth, clinging to dilapidated castles and nostalgic for decaying feudal society, showing the feelings of the decaying class.
The main members of these late creation societies do not care about the debate, but are keen on personal attacks on Lu Xun. In addition to the above false accusations against Lu Xun, he also attacked Lu Xun's native place, age, attitude and temperament, saying that Lu Xun's attitude was bitter, stubborn and too narrow, which shows that the old man really had to do it. Lu Xun is a laggard. These so-called proletarian writers, without eloquence, are domineering and surprisingly left-handed.
Facing the encirclement and suppression of literary writers' pen tips, Lu Xun is lonely. Although he occasionally scolds the creative society as a group of talents+hooligans and satirizes Guo Moruo's creative characteristics, more often, he insists on the spirit of rational criticism.
First of all, Lu Xun criticized the bad style and attitude of the key members of the later creation society when they pursued the left line. He pointed out that the creation society, especially Mr. Cheng, understood the revolution as a terrible thing for ordinary people and put on a ferocious face of extreme left-leaning, as if all the non-revolutionary ones would perish as soon as the revolution arrived, making people afraid of the revolution.
Secondly, Lu Xun exposed the pseudo-catastrophe theory of these people. Don, you can't hold a lot of old people in your head, but you deliberately hide it and point your nose like watching a play, but I'm a proletariat! He pointed out that it is easy for people to make a fuss and study problems in the glass window, no matter how intense or leftist, if they are not in contact with the actual social struggle. However, as soon as it came to reality, it was immediately shattered.
Thirdly, Lu Xun criticized some people in the creation society for exaggerating the power of literature and art unilaterally, saying that it was stepping on the ladder of literature and art propaganda and climbing into the castle of idealism; Moreover, these advocates of proletarian revolutionary literature despise life practice and literary skills, only hang signs and don't talk about goods. Later, Lu Xun said: When the Creation Society and Sun Society attacked me the year before last, their strength was really weak. Later, even I felt a little annoyed, but I didn't mean to fight back, because I later found out that the enemy was playing tricks. At that time, my enemy was bragging, not recruiting. Of course, there are also many articles attacking me. But at first glance, I know that they are all pseudonyms, and they are all the same word. At that time, I was waiting for a Marxist critic with a good marksmanship to attack me, but he didn't show up, not me. Guo Moruo later said that a debate with Lu Xun was almost out of control with the Creation Society.
However, after more than a year of debate, Lu Xun thought he had gained something. In order to find some theoretical problems, he was urged to read several Marxist theoretical works. Lu Xun said: I have one thing to thank the Creation Society. They pushed me to read some literary and scientific theories, and I understood that the previous literary historians had said many questions, and they are still struggling.
/kloc-in the autumn of 0/929, the China * * * production party, after careful work, organized the creation society, members of Sun Society, Lu Xun and others to unite, ending the debate. On February 1930 and 16, these people were called to a meeting to review the shortcomings of the original clique, lacking scientific criticism methods and relaxing their concern for the real enemy. After active preparations, on March 2nd, 1930, the Chinese Left-wing Writers' Union was established in Shanghai. Lu Xun's speech at the inaugural meeting of the Left-wing Writers' Union marked a new development stage for the construction of modern literature in China and China.