Chapter 17 "Literary Policy" [1]

"Literary Policy" [1] Postscript [2] This book is based on the translations compiled and translated by Shiro Toamura and Yoshito Kurahara in Japan. It was translated in May of the previous year (1928) and published in monthly magazines one after another.In the "Editor's Postscript" of the first book, some words like the following were written—— "Russia's disputes about literature and art were introduced in "Soviet Russia's Literary and Art Controversy" [3], and "Soviet Russia's Literary and Art Policy" here can really be regarded as a sequel to that book. If you have read the previous volume This article makes it clearer. Although the preface says that there are three schools with different positions, when reduced, there are only two schools. That is, with regard to class literature and art, one school emphasizes literature and art, such as Varonsky [4] and others. , a school that emphasizes class, is the "Nabasto" [5] people, Bukharin [6] naturally also advocates supporting proletarian writers, but thinks that the most important thing is to have creation. Among the people who spoke , several are members, such as Varonsky, Bukharin, Yakovulev[7], Trotsky[8], Lunakarsky, etc.; , such as Pletenev [10]; most of them are the people of "Napastu", such as Vajin, Levizhi [11], Aweibach, Rodov, and Pesemiansky [12] ], etc., translated and published in the back of an article "Literature and Art" in "Soviet Russia's Literary and Art Controversy", all of which are signed there.

"The attacks of the 'Napastu' faction almost focused on one Vronsky, the editor of "Red New Earth" [13]. Regarding his "Art as Knowledge of Life", Lie Liweizhi once had a Article "Art as the Organization of Life", citing Bukharin's definition, using art as a method of "universalization of emotions", and criticizing Varonsky's theory of art, which is beyond class. This means that in the Council [14] It can also be seen in the controversy. But later, Yoshito Kurahara said in "Modern Russian Critical Literature" that the positions between the two of them seemed to be somewhat close, and Varonsky recognized the class nature of art. Importantly, the attack of Lie Lieweizhi has also been slightly calmer than before. Now Trotsky, Radek [15] have all been exiled, and Vronsky has probably retired. The situation may be very different again.

"From this record, we can see that the theory and practice of Russian literature, which is the stronghold of working-class literature, is probably not useless in today's China; there are a few blank words in it, which are the same as in the original translation, because there is no other Don’t dare to make up the Chinese translation, if you have the original book, if you see it in a circular letter or correct its mistakes, you must make it up at any time.” But until now, in the first and last three years, I have finally not received such a letter, so the shortcomings in it are still exactly the same as before.On the contrary, there are quite a lot of ridicules about the translators themselves, which have not stopped until now.I once mentioned a little bit in "Hard Translation" and "Class Nature of Literature", which was published in the third volume of "Sprouting" [16], and now I will extract a few paragraphs below——

"Since the year before last, there have been a lot of attacks on me personally. In every publication, the name 'Lu Xun' is almost always seen, and the tone of the author, at a cursory glance, seems to be like a revolutionary writer. But I After reading a few articles, I gradually felt that there was too much nonsense. The scalpel does not hit the skin, and the place where the bullet hits is not a fatal wound.... So I thought, there are too few such theories for reference. , so everyone is a little confused. For the enemy, dissection and chewing are inevitable now, but there is a book of anatomy and a book of cooking, and according to the law, the structure and taste can always be relatively clear and tasteful. People often Comparing revolutionaries with Prometheus [17] in the myth, I think that stealing fire from people, although being abused by the emperor of heaven, has no regrets, but his great perseverance is the same. But I stole fire from other countries, and my intention was to cook my own flesh Yes, I think that if the taste is better, I will get more benefits on the side of the chewer, and I will not waste my body: the starting point is all individualism. And it is also mixed with petty bourgeois luxury, and slowly The "revenge" of taking out the scalpel and stabbing the dissected person's heart... However, I am also willing to be useful in society, and the result seen by the spectators is still fire and light. In this way, the first thing to do is "Literary Policy", because it contains arguments from various factions.

"Mr. Zheng Boqi...in his edited "Literary Life" [18], he laughed at me for translating this book. I was unwilling to fail, but it was a pity that someone else took the lead. After reading a book, it will float up and become a revolutionary literature. It's so easy to write home, I don't think so. There is a tabloid that says my translation of "Art Theory" [19] is "surrender". Yes, surrender is a common occurrence in the world, but at that time Marshal Cheng Fangwu had already climbed out of the hot springs in Japan and stayed in a hotel in Paris. Who would he give his sincerity to here?This year, the method of posthumous posthumous title is different again, it is said to be a 'change of direction'.I saw that in some Japanese magazines, these four characters were added to the previous new feeling school Kataoka Tetsubei [20], which is considered a good term.In fact, these divergent talks are still the old ailments that you don't even want to think about.Translating a book on proletarian literature is not enough to prove the direction, but a twisted translation is enough to do harm.My translations are also dedicated to these proletarian literary critics, because they have the obligation not to be greedy for "sweetness" and to study this theory patiently.

"But I am confident that there is no deliberate misinterpretation. When I hit the wound of a critic I don't admire, I smile, and when I hit my own wound, I endure the pain, but I don't make any mistakes. increase or decrease, this is also one of the reasons for always "hard translation". Naturally, there will always be better translators in the world, who can translate articles that are neither crooked, nor "hard" or "dead". At that time, my The translation is of course eliminated, and I just have to fill in the space from 'none' to 'better'."

Because no updated translation has appeared so far, I still sort out the old manuscripts and print them into books, hoping to extend his existence for a long time.But self-confidence is less of a flaw than a first draft.First, when Xuefeng was editing, he compared the original translation for me and corrected several mistakes; It is attached at the end of the volume, and some words have been changed from my translation examples, so that after the overview, the source and context of this "Literary Policy" are more clear.These two points are at least worthy of special mention. On the night of April 12, 1930, Lu Xun recorded it in a small pavilion in Shanghai.

※ ※ ※ 〔1〕 "Literary and Art Policy" is "Soviet Russia's Literary and Art Policy", retranslated by Lu Xun based on the Japanese translations of Kurohara Yoshito and Tomura Shiro.The content is the two documents of the Central Committee of the Russian Communist Party (Bolshevik) from 1924 to 1925, "On the Party's Policy on Literature and Art" and "On the Party's Policy in the Field of Literature and Art" and the All-Russian Proletarian Writers' Association's No. The resolution of a conference, "The Ideological Front and Literature"; there is a "preface" by Yoshihito Kurahara at the beginning of the volume, and at the end of the volume is an appendix "A History of the Development of Russian Proletarian Literature Centered on Theory" by Hidetora Okazawa (translated by Feng Xuefeng) .Published by Shanghai Water Foam Bookstore in June 1930, it was listed as one of the "Scientific Theory of Art Series".The three main texts were originally published in the first to fifth issues, and the seventh to tenth issues of the first volume of the monthly magazine (June to October 1928, December and April 1929). moon).

〔2〕This article was originally printed in a separate volume of "Literary Policy" and has not been published in newspapers. [3] "Soviet Russia's Literary and Art Controversy" was compiled by Ren Guozhen, and included "Literature and Art" by Chu Shake, "Literature and Art" co-authored by eight people including Aweibach, and "The Art of Knowing Life" by Varonsky The three articles of "And the Present" and the appendix of Valevsson's "Pulikhanov and the Problems of Art" were published by Beijing Beixin Book Company in August 1925 as one of the "Unnamed Series".

Lu Xun once wrote "Preface" for this purpose, which was later included. [4] Vronsky (E.g. KTHTFX] PZ, 1884-1943) also translated Voronsky, a Soviet writer and literary critic.From 1921 to 1927, he was the editor-in-chief of the "Fellow Travelers" magazine "Red New Land" (also translated as "Red Virgin Land").Author of collections of essays "On the Junction", "Literary Models", "Art and Life" and so on. 〔5〕 "Napastu" in Russian "HaQTXY ", that is, "On the Post", the official publication of the Moscow Proletarian Writers Union, which was founded in 1923 and ceased publication in 1925.

[6] Bukharin (D.c.a nNHPF, 1888-1938) participated in the Russian Revolutionary Movement in the early years, and participated in the leading organizations during the October Revolution and the early days of Soviet Russia.From 1928 to 1929, he was accused of forming an anti-Party alliance with Rykov and others, and was later executed. [7] Jacob Wulev (k.E.k] TJUIJ, 1896-1939) was a Soviet literary critic and former head of the Central Publishing Department of the Russian Communist Party (Bolsheviks). [8] Trotsky (C. .WHTG] PZ, 1879-1940) interpreted Trotsky, participated in the Russian revolutionary movement in his early years, and participated in the leading organs during the October Revolution and the early days of Soviet Russia.In 1927, he was expelled from the Communist Party of the Soviet Union (B) for opposing the Soviet regime. In 1929, he was expelled from the country and died in Mexico. 〔9〕 "Forge" means "Forge", a "Left" literary group established in Moscow in 1920, named after the publication of the literary publication "Forge".In 1928, it was incorporated into the "All-Soviet Union of Proletarian Writers" (referred to as "Vap"). 〔10〕Pletenev (K.o.QUIYFIJ, 1886-1942) was the leader and theorist of the early Soviet cultural group "Proletarian Cultural Association". [11] Vajin (c.K.KNHpPF, 1890-1941) Soviet literary critic, one of the leaders of the All-Russian Association of Proletarian Writers.Lie Lieweizhi (C.M.CIUIJPh, 1901-1918), one of the editors of "On the Post".Author of "On the Literary Post", "The Creation Path of Proletarian Literature" and so on. 〔12〕Aweibach (C.C.EJIHSNn, 1903-1938) Soviet literary and art worker, once served as the editorial board member of "On the Post".Rodov (d.E._TpTJ, 1893-1968), Soviet poet and literary critic, was originally a member of the "Forge" and left in October 1922, and later became the leader of "On the Post" one of the people.Pesaiminsky (E.c.aIfRmIFX] PZ, 1898-1973), Soviet poet. Contributor to On the Post.Author of "Communist Youth League Members", "Tragedy Night" and so on. [13] "Red New Land" is a translation of "Red Virgin Land", a large-scale comprehensive magazine including literature, art, science, and political theory, published by the Soviet State Publishing Bureau. It was launched in June 1921 and ceased publication in 1942. [14] The council is the council on literature and art policy held on May 9, 1924.Controversy refers to their speeches at this meeting. [15] Radek (g.a._NpI], 1885—?) Interpreter Radek, Soviet political commentator.He participated in the proletarian revolutionary movement in his early years. In 1927, he was expelled from the Communist Party of the Soviet Union (Bolsheviks) for joining the Trotskyite group. In 1937, he was tried for "conspiring to overthrow the Soviet Union". 〔16〕"Sprout" literary monthly, founded in January 1930 in Shanghai, edited by Lu Xun and Feng Xuefeng.After the establishment of the Chinese Left-Wing Writers' Union in March 1930, it became the official publication of the "Leftist League". It was banned until the fifth issue, and the sixth issue was renamed "Xindi", and publication was discontinued immediately. 〔17〕Prometheus Prometheus, the god of benefiting mankind in Greek mythology.According to legend, he stole fire from the great god Zeus and gave it to humans. As punishment by Zeus, he was nailed to the rock of the Caucasus Mountain and let the eagle eat his liver. 〔18〕Zheng Boqi (1895-1979) was born in Chang'an, Shaanxi, a writer, and a member of the Creation Society. At that time, he opened a literature study room in Shanghai. "Literary Life", a literary weekly in the later period of Creation Society, was first published in Shanghai in December 1928, with four issues in total. 〔19〕"On Art" Lu Xun once translated two "On Art": Lunacharsky's Aesthetics Anthology and Plekhanov's Art Essays.Here refers to the former. "Surrender" can be found in Shang Wen's article "Lu Xun Breaks with Beixin Bookstore" published in the Shanghai tabloid "Zhenbao" on August 19, 1929. Turning over a book of revolutionary art theory with a pen, which means surrender.” [20] Kataoka Tetsubei (1894-1944) Japanese writer.He once founded the "Literary Times" magazine in 1924, engaged in the so-called "New Sensation School" literary movement, and turned to the progressive literary camp after 1928.Author of the novels "Praise for Women" and "Living Idol". 〔21〕Okazawa Hidetora (1902-1973) Japanese literary critic, Russian literature researcher.He is the author of "Soviet and Russian Literary Theory", "Literature and Art of Collectivism" and so on.