Chapter 6 Hazy in "Drunken Eyes"

This year of the old calendar and the new calendar seems to be particularly stimulating for Shanghai writers and artists. As soon as the two consecutive new editions are over, periodicals will be published one after another.They will probably try their best to focus on great or dignified titles, and they will not hesitate to kill the content.Even publications that have been produced for more than a year show desperate struggles and mutations.As for the author, there are a few names that I have just seen, but many are still familiar. Although I sometimes feel a little unfamiliar, that is because I have stopped writing for a year or so.What were they doing before, and why did they write together this year?It sounds like a long story.To put it simply, it is because I could not write before, but now I have to write. I am still like the boring literati in the old days, and the boredom of literati is exactly the same.This is conscious or subconscious, and everyone is a little conscious, so we always declare the "future" to the readers: either "going abroad", "entering the research laboratory", or "obtaining the people".The merits are not in the present, once you return to the country, leave the house, and win the people, it will be no small matter.Naturally, if you are far-sighted, cautious, fearful, or speculators, it is best to pay the "revolutionary salute" at this moment.In the future, it will be "too late to regret".

However, all kinds of publications, no matter how different the wording is, have one thing in common, that is: a little hazy.From my point of view, this hazy birthplace—although it is Feng Naichao’s so-called “drunken eyes”[2]—is still the bureaucrats and warlords that some people love and others hate.Those who already have ties with them, or want to have ties with them, often smile and show kindness to everyone in the pen. However, they have far-sightedness, and they are afraid of hammers and sickles in their dreams, so they dare not clearly compliment their current masters, so here they are. Stay a little hazy.Those who have broken ties with them, or have nothing to do with them, and go to the public, can speak without any scruples, but there are not many fools who will forget their command swords even if they are heroic in writing. Yes, there is still a little haze here.Therefore, those who want to be hazy and finally reveal their colors, and those who want to show colors but are finally unavoidable, all appear in the same place at the same time.

In fact, it doesn't matter how hazy.Even in the most revolutionary countries, literature and art are not without some ambiguity.But a revolutionist is not afraid to criticize himself, he knows it very well, and he dares to speak out.Only China is special, knowing that people have followed Tolstoy to call Tolstoy a "vile preacher" [3], but regarding China's "current situation", they only feel that "in fact, all aspects of society are also being affected by dark clouds." dominance of forces”[4], not even a fraction of his courage to “stripping off the government’s violence and judging the comedy mask of administration”; Hearing the voice" [5], there was not even a humanitarian protest.Stripping and fighting are nothing but "biting words", not "direct action". 〔6〕I don't want people who make articles to take direct action. I know that people who make articles can only make articles.

It's a pity that it was a little late. Creation Society raised capital last year, hired a lawyer last year, and only this year raised the banner of "revolutionary literature." ] to "win the masses" and "guarantee the final victory" [9] to the revolutionary writers.This leap can also be said to be inevitable.People who engage in literature and art are generally sensitive, feel it all the time, and guard against their own decline, as if they are floating in the ocean, desperately grabbing everywhere.The rise and fall of expressionism [10] and stepping doctrine [11] since the twentieth century are the news revealed here.Now is a great era, an era of turbulence, and an era of transformation. Outside of China, class antagonisms have probably become very sharp, and the peasants and workers are becoming increasingly serious. If you want to rescue yourself from decline, of course you should go to them.What's more, "Whoa! The petty bourgeoisie has two souls..." Although it is possible to go to the bourgeoisie, it is also possible to go to the proletariat.

This kind of thing is still in its infancy in China, so it is a novelty, and a big topic like "From Literary Revolution to Revolutionary Literature" needs to be done. However, in a country with developed industries and a gap between rich and poor, it is already a common thing.Either because he saw that the world in the future would be the world of laborers, he ran over; or because he would rather help the weak than help the strong, he ran over;It can also be said, either because of fear, or because of conscience.Cheng Fangwu teaches people to overcome their petty bourgeois roots and draws the "mass" to be the material for "giving" and "maintaining". The article is finished, but there is a big problem left: if it is difficult to "guarantee the final victory", Are you going or not?

It would be better if, under Cheng Fangwu's congratulations, Li Chuli's article [12] in "Cultural Criticism" published this year simply advocates proletarian literature, but it is not necessary for the proletarians to write it themselves; no matter what their background is Class, no matter what kind of environment it is in, as long as it is "a kind of struggle literature produced with proletarian consciousness", it is much more straightforward.But when he saw the name of the hateful "Yusi faction" who "centered on interest", he couldn't help being twisted, and he still "ask Mr. Gan, what class is Lu Xun in?" [13] My class has changed from imitating me Judgment: "What they hold back is 'leisure, leisure, the third leisure'; they represent the bourgeoisie who have leisure, or the petty bourgeoisie who sleep in the drum... If the smog in Beijing is not a hundred thousand taels When the pyrotechnic powder explodes, they may live like this forever." [14] Only when our critics write out the achievements of the Creation Society and "negate the negation" to "get the masses", [15 〕I have already dreamed of "one hundred thousand taels of smokeless gunpowder", and it seems that I will be squeezed into the "bourgeoisie" (because "leisure is rich" says), I also feel that it is dangerous.Later I saw Li Chuli said: "I thought that a writer, no matter whether he is a member of the first, second...hundredth class, he can participate in the proletarian literary movement; but we must first examine their motives.  … "[16] Only then did I feel relieved, but what is worrying is that I still have to ask about my class. "If you have leisure, you have money"; if you don't have money, you should belong to the fourth class [17], and you can "join the proletarian literary movement", but I know that at that time, you will have to ask "motivation".In short, the most important thing is to "acquire the class consciousness of the proletariat"—this time it cannot just "obtain the masses" and finish the job.It’s not clear whether it’s entangled anyway. It’s better to let Li Chuli go to “from the weapon of art to the art of weapon”[18], and let Cheng Fangwu go sit in the semi-concession and save up “one hundred thousand taels of smokeless gunpowder”. Still talking about "fun".

The sound of gnashing of teeth that imitated my "leisure, leisure, the third leisure" is interesting to me.Because I remember someone once criticized my novel, saying that "the first is calm, the second is calm, and the third is still calm." [19] "Calm" is not a good criticism, but somehow it seems like a novel. As if the ax had struck the memory center of this revolutionary critic, there have been three "leisures" since then.If there are four of them, and they don’t even write "The Old Novel Notes", or if there are only two, they seem to be relatively busy, so maybe they won’t be changed by "Aufheben"[20] (meaning "to get rid of", Aufheben’s creation Pai's transliteration, but I don't understand why the translation is so difficult to write. In the fourth class, it must be more difficult than describing one original text), but it is a pity that there are three.But the previous crime of not "working hard to express oneself" [21] should probably be canceled together with Cheng Fangwu's "negation of negation".

The creative school "literature for the revolution", so literature is still needed, and literature is the most important point now, because "from the weapon of art to the art of weapon", when it comes to "art of weapon", it will be just like "from the weapon to the art of weapon". The weapons of criticism, when it comes to criticism with weapons" [22], there are precedents in the world, "those who wander become those who agree, and those who oppose them become wanderers" [23]. But immediately there is a little bit of a problem: why not just go to "The Art of Weapons"?

This is also very similar to "the lobbying of Su Qin sent by the bourgeoisie" [24].But when "the proletarians have not been liberated from the consciousness of the property owners" [25], this problem must always arise, and it is not always a bourgeoisie's poisonous plan to retreat or counterattack.Because this is a very thorough and courageous claim, which at the same time contains the germs of doubt.The answer has to be this: because there is "the art of weapons" over there, so there can only be "weapons of art" here. This weapon of art is really nothing more than a last resort, from the phantom of defenselessness, into a new dream of paper battles.But a revolutionary artist can only maintain his courage in this way, he can only do this.If he sacrifices his art to make the theory a fact, he is afraid that he will not be a revolutionary artist.Therefore it is inevitable to sit in the camp of the proletariat and wait for the "iron and fire of weapons" to appear.When this happened, at the same time, "the art of weapons" was brought out.If the revolutionaries of iron and fire had had a "leisure" at that time and could listen to their self-reported feats, they would have become soldiers in the same way.The last victory.However, the criticism of literature and art is still unclear, because society has many layers and has the historical reality of advanced countries; to take the current example, "Cultural Criticism" has already delayed Upton Sinclair[26], and "Creation Monthly" has also recited Vigny's "Let's go" [27].

If it hadn't been said at that time that "no revolution is counter-revolution", and the delay in revolution was caused by the "Yusi faction", and you could still get half a piece of bread for sweeping the floor, then I would have spent eight hours in my spare time sitting in the office. In the dark room, I continue to read my "Novel Old News Notes", and I still want to talk about the literature and art of several countries, because I like it.What I am afraid of is that we are really like Vladmir Ilzhi [28] and actually "get the masses"; then, they will probably have to leap and leap, and even I will rise to the rank of noble or emperor Here, at least they must be exiled to the Arctic Circle.All translated books are prohibited, so it goes without saying.

There is always a big era coming soon.Although creative revolutionary writers and proletarian writers have no choice but to play with "weapons of art", non-revolutionary martial artists with "art of weapons" are also playing with this thing. [29] This is it.They themselves don't quite believe in the "art of weapons" in their hands.In whose hands, then, has this supreme art, the "art of arms" now fallen?As long as you can find it, you will know the immediate future of China. February 23rd, Shanghai. BB [1] This article was originally published in the eleventh issue of the fourth volume of "Yusi" on March 12, 1928. This article was written by Lu Xun in response to criticisms from the Creation Society and the Sun Society in early 1928.At that time, the criticisms of Creation Society and others and Lu Xun's rebuttals once formed a debate centered on the issue of revolutionary literature within the revolutionary literature camp.This controversy expanded the influence of the revolutionary literature movement and promoted the attention of the cultural circles to the issue of revolutionary literature.However, when some members of the Creation Club and the Sun Club tried to apply the principles of Marxism to the practical and literary fields of the Chinese revolution, they had a serious tendency towards subjectivism and sectarianism, and made a wrong analysis of Lu Xun, and adopted a wrong approach to him. attitudes of rejection and even unprincipled attacks.Later, they changed their position of rejecting Lu Xun and jointly organized the Chinese Left-wing Writers Union with Lu Xun. 〔2〕Feng Naichao, a native of Nanhai, Guangdong, is a writer and a member of the Later Creation Society. "Drunken eyes", see his "Art and Social Life" published in the first issue of "Cultural Criticism" (January 1928): "Lu Xun, an old man-if I express it in literature-is often On the top floor of the dark restaurant, looking at the life outside the window with drunken eyes. The world praises his goodness, but he is just a little more sophisticated. However, he doesn't often look back on the past and mourn the declining feudal sentiment. In the end, what he reflects is only social change The sorrow of the middle-term laggard, who was bored and said a few beautiful words of humanitarianism to his brother. Hermitism! Fortunately, he did not follow LATol Mstoy and become a despicable preacher." [3] Tolstoy (XAYAZKFS[K, 1828-1910) Russian writer.The book Ying て  ∷ lazy pier straw  ultimatum * Ping ",, and so on.Feng Naichao once quoted a passage from Lenin in "Lev Tolstoy, the Mirror of the Russian Revolution" in "Art and Social Life": "Tolstoy, on the one hand, unscrupulously criticized the extraction and exploitation of capitalism. The violence of the government, the mask of the comedy of the referee and the administration, exposes the contradiction between the increase of national wealth, the result of culture and the increase of poverty, and the suffering of the working people; he foolishly advises people not to use violence to resist crime On the one hand, stand on the most enlightened realism, stripping off all masks; on the other hand, he shamelessly does the most despicable thing in the world-a religious preacher." According to the translation, it is not exactly the same as the current version. [4] This is what Feng Naichao said in "Art and Social Life": "Since the Northern Expeditionary Army entered and left Yangzijiang, one of the characteristics of the Chinese national revolution has been the intensification of popular political movements. However, observing the current situation, the revolutionary forces On the surface, it seems to be at a standstill, but in fact, all aspects of society are also being dominated by dark clouds." [5] "Killing people like grass without hearing a sound" see Shen Mingchen's "铙歌" in the Ming Dynasty. "Ten Chapters · Victory Song": "Where soldiers meet in narrow alleys, the murder is as silent as grass." It was originally used to praise the military exploits, but here it is used to refer to the bloody crimes of the Kuomintang reactionaries massacring Communists and revolutionary masses. [6] See "Cultural Criticism" No. 2 (February 1928) Li Chuli's "How to Build Revolutionary Literature": "We know that in society, there must be some common sense demagogues who mock us , They said: Since you keep talking about revolution, why don't you take direct action, but come to make such a literary literature? We want to see their treachery; this is their retreat strategy; Su Qin sent by the bourgeoisie to lobby. " 〔7〕Creation Society asked a lawyer for the prospectus last year. In 1926, Creation Society issued a prospectus to raise funds for the establishment of the society.In 1927, Liu Shifang was hired as the lawyer of the agency.Later, when the Creation Society was oppressed by the reactionary authorities, Liu Shifang, on behalf of the Creation Society and its publishing department, published a newspaper statement stating that "this society is purely a collection of new literature and art, and this publishing department is also purely an organization for publishing literature and art books and newspapers. There has never been any relationship", "Afterwards, anyone who slanders our agency and our publishing department will sue in accordance with the law in order to receive the legitimate protection of the law." (See Shanghai News of June 15, 1928) [8] In the early days of Creation Society, Cheng Fangwu advocated that literature "is a request from the heart, and there is no need for any predetermined purpose", pursues the "completeness" and "beauty" of literature, and has a tendency to "art for art's sake" .He participated in the Northern Expedition in 1926, and returned to Shanghai in 1928 to engage in the "revolutionary literature" movement.So it is said here that he is a "resurrected critic" who "has finally left the duty of guarding the 'Palace of Art'". [9] "Winning the masses" and "guaranteeing the final victory" are both found in "From Literary Revolution to Revolutionary Literature" by Cheng Fangwu, Volume 1, Issue 9 (February 1928) of "Creation Monthly": " Work hard on your work with a clear consciousness, expel the poison and influence of the bourgeois 'Idvoroke' among the masses, gain the masses, constantly give them courage, and maintain their self-confidence! Don't forget, you are standing In a branch of the whole front! Describe with sincere enthusiasm what you have seen on the battlefield, the fierce grief, heroic deeds and joy of victory of the peasants and workers! In this way, you can guarantee the final victory; you will establish great honor, you You will be worthy of being a warrior." [10] Expressionism was a bourgeois literary school popular in Germany and Austria at the beginning of the 20th century.It has a blind resistance to the dark reality of capitalism; it emphasizes the expression of self-feeling, believes that subjectivity is the only reality, ignores real life, and opposes the self-consciousness of art, which is a reflection of the bourgeois cultural crisis during the imperialist period. 〔11〕Treadism, commonly known as Dadaism, was a bourgeois literary genre popular in Switzerland, the United States, and France during the First World War.It opposes the laws of art, denies the ideological meaning of language and images, and expresses incredible things with dreamy, chaotic language, and grotesque and absurd images. It is a reflection of the panic and frantic mental state of the young generation at that time. [12] "Cultural Criticism" monthly, a theoretical publication of Creation Society.Created in January 1928, a total of five issues were published.Cheng Fangwu's "Congratulations" was published in the first issue.Li Chuli, born in Jiangjin, Sichuan, is a literary critic and a member of the Later Creation Society.This refers to his article "How to Build Revolutionary Literature".It says: "The writers of proletarian literature do not necessarily come from the proletariat, and those of proletarian origin do not necessarily produce proletarian literature." It also says: "Proletarian literature is: to complete the history of its subject class Its mission is not based on contemplative-expressive attitude, but on the basis of the class consciousness of the proletariat, which produces a literature of struggle.” [13] The semi-monthly "Bei Xin" magazine, Volume 2, No. 1 (November 1927), published "The Future of New Chinese Literature and Its Own Understanding" signed by Gan Ren, in which "Lu Xun... is the author of our time "; Li Chuli objected in "How to Build Revolutionary Literature" and said: "I want to ask Mr. Gan, what class is Lu Xun really a member of, and what class of literature does he write? What he has honestly published In the past, which class of people is suffering? "Our era" is the era of which class? Gan Renjun has no idea of ​​"the future of China's new literature and art and himself." [14] See Cheng Fangwu's "From Literary Revolution to Revolutionary Literature" for this quotation. [15] Cheng Fangwu commented on the early Creation Society in "From Literary Revolution to Revolutionary Literature": "Its writers, with their spirit of rebellion and fresh style of work, raised the literary circle within four to five years. It became a spirit of originality, which gave a lot of stimulation to ordinary young people. They guided the policy of the literary revolution and took the lead in moving forward. They swept away all fake literary criticism and expelled some poor translations. They have the most complete negation of old ideas and literature, and they fight for the whole literary movement with sincere enthusiasm and a critical attitude." And when looking forward to the "future progress of the literary revolution", he said: "If we still provoke the revolutionary We have to negate ourselves again (negation of negation), we must strive to gain class consciousness, we must make our media close to the terms of the peasants and workers, we must use the terms of the peasants and workers It is our target." [16] See Li Chuli's "How to Build Revolutionary Literature": "I think that a writer, no matter whether he is a member of the first, second... hundredth or thousandth class, he can join the proletarian class. Literary movement; but first we have to examine his motives. See if he is 'revolution for literature' or 'literature for revolution'." [17] The fourth class is the proletariat.In the past, foreign historians divided the French society during the French Revolution into three classes (should be translated as "levels").The first class: the king; the second class: monks and nobles; the third class: the ruled class at that time, including the bourgeoisie, petty bourgeoisie, workers, farmers, etc.Later, some people called the working class the fourth class.This is an unscientific statement. [18] "From the weapon of art to the art of weapon", see Li Chuli's "How to Build Revolutionary Literature": "Since the possessor uses all art as his tool of domination, literature is of course an important battlefield for the proletariat. Therefore, our writers are 'literature for revolution', not 'revolution for literature', and our works are 'art from weapon of art to weapon of weapon'." [19] These are the words of Zhang Dinghuang, see "Modern Review The article "Mr. Lu Xun" serialized in the seventh and eighth issues of the first volume (January 1925): "What kind of state has Mr. Lu Xun learned as a doctor? We don't know whether he has ever entered the dissecting room. But we know that he has three characteristics, which are also the characteristics of doctors who are experienced in surgery, the first is calm, the second is still calm, the third is still calm." 〔20〕The German transliteration of "Aufuhebian" is now translated as "sublation". [21] Cheng Fangwu, in the second issue of the second volume of the quarterly magazine (January 1924), "Comments on "Shouting", divided the novels in the book into two categories: "representation" and "expression".I think the former is "ordinary" and "vulgar", which is the author's "failure", while the latter, such as "Dragon Boat Festival", "expression method is exactly the same as the style of several of my friends", "the author is determined by his efforts to express himself. , approaching us." [22] "From the weapon of criticism to the criticism with weapons" see Marx's "Critique of Hegel's Philosophy of Right" Introduction: "Of course, the weapons of criticism cannot replace the criticism of weapons, and material forces can only be destroyed by material forces; But once the theory has mastered the masses, it will also become a material force." ("Selected Works of Marx and Engels", Volume 1, page 9, published by People's Publishing House in May 1972) [23] The source of these two sentences remains to be investigated. [24] "The lobbying of Su Qin sent by the bourgeoisie" see Note [6] of this article.Su Qin, a political strategist in the Warring States period, once lobbied the six countries of Qi, Chu, Yan, Zhao, Han, and Wei to unite against Qin. [25] See Li Chuli's "How to Build Revolutionary Literature": "Some people say: Proletarian literature is the literature written by the proletarians themselves. No. Because the proletarians have not been liberated from the consciousness of the proletarians, what he wrote is still It is some bourgeois literature." [26] Upton Sinclair Sinclair (1878-1968), American novelist.Author of the novels "Slaughterhouse", "Carbon King", etc. The second issue of "Cultural Criticism" (February 1928) published an excerpt from Sinclair's "The Art of Worshiping Money (A Study of the Economics of Art)". The translator Feng Naichao said in the preface of the translation: Sinclair "Standing on the same footing as us to clarify the relationship between art and social class...he not only broke the class nature of art, but also clarified the direction of future art." [27] Vigny Pooh (1797-1863), a French negative romantic poet.Author of "Ancient and Modern Poetry Collection", "Fate Collection" and so on. The fifth, seventh, eighth, and ninth issues of the first volume of "Creation Monthly" once serialized Mu Mutian's essay "Pooh and His Poems". "Let's go" is what Cheng Fangwu said in his article "From Literary Revolution to Revolutionary Literature": "Let's go, to the dirty peasants and workers!" [28] Vladimir Ilyich is Vladimir Ilyich Lenin. [29] Refers to some publications run by the Kuomintang reactionaries at that time, such as "New Life".