Chapter 26 Stories from the Literary World (with a letter from Xu Yun)

Mr. Editor: A friend in Shanghai recently told me, "The literary and art circles in Shanghai have been making a fuss over the issue of revolutionary literature recently." Very interesting!This issue was also debated fiercely in Chengdu's literary and art circles around the Mid-Autumn Festival last year.But the commotion was not "noisy", and the war zone did not expand, so it ended.Apart from Chengdu, few people know of such a thing. Now let me say something briefly. The origin of this controversy has been brewing for a long time.The main body of both sides - the one in favor of revolutionary literature is the People's Daily. ——It is the Jiuwu Daily that doubts their so-called revolutionary literature.At first, it was only a secret confrontation; then, because of the gradual development of the National Government in the Yangtze River area, revolutionary writers in Chengdu speculatively established the "Revolutionary Literature and Art Research Society" to promote proletarian literature.It so happened that a paper named "Talking about Revolutionary Literature" signed by Zhang Shiyi appeared at that time.So he provoked the wrath of a group of revolutionary writers, and began to attack the war on both sides.

As for the two strategies: Revolutionary literature scholars believe that everything should be revolutionized, and only revolution can lead to progress and follow the trend.Failure to revolution is the remnant of feudal society and the pawn of imperialism.Similarly, the Creation Society is based on historical materialism. ——But without their thoroughness, they lumped "literary revolution" and "revolutionary literature" together. —— Opponents admit that "revolutionary literature" and "civilian literature" and "noble literature" are both literary terms, which have nothing to do with the literary revolution, but doubt that it is sacred and inviolable.And literature should not be so narrow; what's more, there may not be many revolutionary themes.Even if there is, it may not be good to write it on the itch.It's almost a saying of "art for art's sake".Those who join this battle group are mostly "all-in-one" members in terms of revolutionary literature; while in the opposition department, they are mostly strangers.

The result of this melee was that the "Revolutionary Literature and Art Research Society" did not want to extend the front line and voluntarily ceased troops.But why the troops were suspended, outsiders cannot guess.Regarding that document, due to "insufficient literature", I had to omit it. Shanghai must be very impressive this time.Judging from the catalog copied by my friend, it's quite impressive!It's a pity that Chongqing has not yet had the pleasure of reading these publications! This letter is only for the sake of preparing for the future "story in the literary world", and it has no intention of provoking or advocating any aspect.

A lot of nonsense has been said, so I will stop here, and I wish you peace! Xu Yun [2].On July 8, seventeen years, in Chongqing. reply Mr. Xu Yun: Thank you for your kindness in writing "Anecdotes from the Literary World". Calculated from the year and month, Sichuan’s “revolutionary literature” seems to be the aftermath of a book called “Revolutionary Literature” [3] (probably titled like this, but I can’t remember exactly, it was edited by Tintin) published last year.This year's "revolutionary literature" in Shanghai can be said to be another scene.As for "Xiao" or not "Xiao", it depends on the sharpness of hearing of the hearer.

I am a "backward" on the battlefield of "revolutionary literature", so the situation in the center and the front is unknown.But looking at their buttocks, there are Commander Cheng Fangwu's "Creation Monthly" [4], "Cultural Criticism", "Quick Sands" [5], Jiang Guangxi (I don't know if it has been changed now) One word) "The Sun" by Bai Shuai [6], led by Wang Duqing [7], "Gobi" [8] sung by the young revolutionary artist Ye Lingfeng; "; plus a crash course of Pan Zinian who really "talks nicely behind his younger brother's back"[10].But a few days ago, I saw Mr. K’s talk to the Japanese (see the July issue of "Zhanqi") [11], and I realized that the "revolutionary literature" of Pan Ye and his like was not counted.

Talking vaguely about only "revolutionary literature" is of course not thorough, so this year's signboard in Shanghai is indeed proletarian literature. As for whether it is based on historical materialism, because I am a layman, I don't know.But when we talk about proletarian literature, we can't help but attribute it to struggle literature, and when we talk about struggle, we can only say it is a wing of the highest political struggle.This is justified in Russia, because it is the dictatorship of labor and peasants; it does not matter much in Japan, because after all, there is still a little freedom of the press, and it is even possible to organize a labor party.This is not the case in China, so it changed its appearance two months ago, not only changed its name to "New Literature and Art", but also, in accordance with the laws of the bourgeois society, hired lawyers to publish its advertisements to scare others.

Call the "revolutionary intellectual class" to overthrow the old things, and use the old things to protect themselves. They want to have the reputation of revolutionaries, but they refuse to eat a little of the hard work that revolutionaries often suffer. Even the "Yin-Yang Face" [12] plagiarized by Ye Lingfeng is not enough to vividly portray themselves. I think this is a pity, and I feel quite lonely. But this is in terms of the overall situation. If we talk about individuals, there are some who have already achieved good results.For example, after Cheng Fangwu wrote "Let's Go" and "Send Them", and changed his name (Shi Housheng) and wrote a little "Lu Xun"[13], according to the Japanese proletarian literature and art monthly "Zhanqi" According to the July issue, he walked near Shuzenji Hot Spring (but I don’t know if he took a bath), and was honored there as a "respectable Protagliat writer", "a laborer and peasant from China selected their artist".

Lu Xun.August 10th. BB 〔1〕This article was originally published in the thirty-fourth issue of the fourth volume of "Yusi" on August 20, 1928. The original title was "Communications. Part One", which was changed to the current title when it was included in this book. [2] Xu Yun is unknown. 〔3〕 "Revolutionary Literature" should be "Revolutionary Literature", edited by Tintin.Included were 17 papers discussing revolutionary literature at that time, which were published by Shanghai Daxin Bookstore in 1927.Ding Ding, a speculative literati at the time, later degenerated into a traitor.

〔4〕 "Creation Monthly", one of the main literary journals of the Creation Society, was first published in Shanghai in March 1926 and ceased publication in January 1929. 〔5〕The comprehensive semi-monthly magazine of the Creation Society of "Quick Sand", which was first published in Shanghai in March 1928, and was discontinued until the sixth issue. [6] "The Sun" is "Sun Monthly", one of the main literary publications of the Sun Club, which was first published in Shanghai in January 1928 and ceased publication until the seventh issue.Jiang Guangx, refers to Jiang Guangci (1901-1931), formerly known as Jiang Guangchi (changed from Chi to Ci after the failure of the Great Revolution), from Lu'an, Anhui, one of the main members of the Sun Society, and a writer.Author of poetry collection "New Dream", novels "Short Pants Party", "Wind in the Field" and so on.

[7] That is, "Our Monthly", which was first published in Shanghai in May 1928 and ceased publication until the third issue.The first article in the inaugural issue was "Congratulations" by Wang Duqing.Wang Duqing (1898-1940), a native of Xi'an, Shaanxi, was a member of the Creation Society at the time, but soon degenerated into a Trotskyist. 〔8〕The semi-monthly "Gobi" was first published in Shanghai in May 1928 and ceased publication until the fourth issue. [9] The monthly "Modern Fiction" was first published in Shanghai in January 1928 and ceased publication in March 1930.

〔10〕 That is, "Honghuang Bimonthly", which was first published in Shanghai in May 1928 and was discontinued until the third issue. [11] Mr. K refers to Guo Moruo, see note [26] on page 306 of this volume.The conversation between him and Cheng Fangwu and Fujieda husband, a writer of the Japanese Zhanqi Society, was published in the July 1928 issue of Zhanqi. "Battle Flag", the official publication of the All Japan Proletarian Art Union at that time, was launched in May 1928 and ceased publication in June 1930. [12] "Yin-Yang Face" The second issue of "Gobi" (May 1928) published a caricature by Ye Lingfeng that imitated Western European Cubism and satirized Lu Xun, with a caption: "Mr. Lu Xun, the yin-yang face The old man, hanging on to his past achievements, hid behind the wine tank, waving his "artistic weapon", and resisting foreign aggression." 〔13〕 "Lu Xun" refers to "After all, it's just "drunken eyes"", published in "Creation Monthly", Volume 1, Issue 11 (May 1928).It said: "We waited with great curiosity to meet the colorful face of the brave general. We imagined that if the professors and celebrities who studied bird literature in imperialist countries were not the first to jump out, they must be here. Under the influence of humanoids, a young and experienced general. Look! Ah, this is a bit strange! This Mr. Beard is actually our Chinese Don Quixte (玸 Quixote)—玸 Lu Xun!" "玸, the transliteration of Don in Spanish, Tongyitang, that is, Mr.