A Brief Introduction to China's Modernist Literature

The contradiction between China literature and world culture has been puzzling the modernization of China literature. Nationalization and Westernization not only puzzled the practical proposition of China's literary creation in the 20th century, but also puzzled the theoretical proposition of China's literary theory research in the 20th century. Modernization of China Literature: Westernization or Nationalization? People have always been controversial.

The modernization of China literature began with the May 4th New Literature Revolution. According to Hu Shi's summary, this modernization is characterized by "vernacular" in language form and "human literature" in spirit. Hu Shi further believes that the concept of "vernacular Chinese" was put forward by him and the concept of "human literature" was put forward by Zhou Zuoren. Both Hu Shi, who put forward the theory of "authentic vernacular", and Zhou Zuoren, who put forward the theory of "human literature", were westernized schools at that time, that is, they advocated that the modernization of China literature must take the road of westernization. Zhou Zuoren's concept of "Westernization" mainly focuses on the literary spirit. He thinks that the ancient things in China are always in our blood, just like genes, which do not need to be inherited or imitated deliberately, while the foreign things are the opposite. "We welcome Europeanization because we are happy to have new air for us to enjoy and create new vitality" [1], and Zhou Zuoren hopes to borrow fresh blood from the West. Of course, Zhou Zuoren also stressed that this formulation must take "hereditary national character" as "its natural place" [2], which means that Zhou Zuoren has certain reservations about "westernization". Comparatively speaking, Hu Shi's view of "Westernization" mainly focuses on literary forms, and his attitude is more thorough and radical than Zhou Zuoren's. I only hope that today's writers are Fei and Ma Zhini, not Jia Sheng, RoyceWong and Qu Yuan.

What do westerners think of China's ancient vernacular literature tradition? Hu Shi affirmed China's vernacular literature tradition after Liao, Jin and Yuan Dynasties from the perspective of "vernacular", and highly praised Water Margin, The Journey to the West and Romance of the Three Kingdoms. However, his admiration for the above-mentioned classical ancient vernacular literature began with "a comparison between Luther and Dante who opposed Latin and established their own slang literature in Europe", and his original intention was still to encourage modern writers in China to learn from westerners. Indeed, Zhou Zuoren and Qian had a negative view on the above-mentioned China ancient vernacular novels from another angle-from the perspective of ideological content. Zhou Zuoren almost belittled China's ancient vernacular novels. In People's Literature [3], Zhou Zuoren regarded Strange Tales from a Lonely Studio as a demon book, Water Margin and Elvis Presley as stolen books, San Xiao's marriage as a talented woman and The Journey to the West as a superstition. On the one hand, Qian strongly agrees that "quotations are reasonable in vernacular, and lyrics are beautiful in vernacular, which is the evolution of the article" and "novels are authentic in modern literature, which is also an irrefutable theory". However, when it comes to content, his point of view immediately took a 180 degree turn. He said: "Songs and novels are truly authentic in literature, but they are rare in value. [4] "Qian chose China's ancient vernacular novels from the perspectives of" noble thoughts "and" sincere feelings ",but almost rejected all those ancient vernacular novels. Zhou Zuoren and Qian criticized China's traditional vernacular novels from the perspective of ideological content. They positioned the novel as the propaganda and agitation of humanistic thought, and unanimously criticized China's ancient vernacular novels, such as "gifted scholars and beautiful women", "teaching prostitutes and thieves", "ghosts don't pass by" and "perverting unofficial history", and advocated that China literature must be spiritually westernized (enlightened).

From the above analysis, it is not difficult to understand why westernized writers in the May 4th period emphasized vernacular literature, but most of them were particularly uninterested in China's traditional vernacular novels. During the May 4th Movement, an important symbol of China's literary modernization was the development of modern cross-sectional short stories, which was related to the decline of China's traditional Zhanghui novels. Most of the vernacular novels in Ming and Qing dynasties have the formal characteristics of "telling stories", retaining the oral style of "telling stories" in novels However, in the process of modernization of China's novels, modern novelists, on the one hand, emphasized that novels should use "vernacular" and "spoken language", on the other hand, they just got rid of the "storytelling" characteristics of vernacular novels in Ming and Qing Dynasties and began to write in vernacular. This is contradictory, at least on the surface.

Why is there such a contradiction? Obviously, the May 4th Movement took "writing/writing at desk" as one of the standards of modern novels, and its source was the observation and comparison of the western "writing/writing at desk" created by intellectuals and printed in paper media. The May 4th generation compared China's novels with western novels, which led them to fail to see the oral advantages of China's ancient vernacular novels, especially vernacular novels. The May 4th Movement not only totally denied the tradition of China's literary intelligentsia in classical Chinese (from the perspective of enlightenment motivation, the May 4th Movement demanded that literature be a sharp weapon to publicize enlightenment thoughts, so they demanded the popularization of literature), but also denied the tradition of China's ancient vernacular literature, especially the tradition of story novels (enlightenment demanded that novels be knowledgeable, while story novels were non-knowledgeable), and its core motivation was "Westernization".

This "westernization" was manifested in the "enlightenment" of literature at that time. In this case, the May 4th Westernization School positioned the frame of reference of the literary revolution horizontally in the west, rather than vertically in a certain (vernacular) literary tradition in ancient China. The reason why they emphasized the vernacular tradition in China's ancient literature is that they only played a theoretical argument strategy of "vernacular literature has existed since ancient times" (China people especially appreciate the argument of "what has existed since ancient times", and this method has also been adopted by modern reformist intellectuals, such as "Confucius' reform test"). This strategy was put forward only to provide public opinion support for the May 4th New Literature Revolution, but it was not really intended to be used in practice to guide the development of new literature. From the above analysis, it can be concluded that the May 4th Westernization School chose the road of China's literature modernization and made it "go to the West". The May 4th Westernization School turned a blind eye to the linguistic logic of China's ancient vernacular novels and the possibility of modernization transformation. The May 4th Westernization School had a China mentality that "everything is inferior to people", and China literature should "learn from the West" in both form and content.

This mentality of the May 4th Westernization School found a response in the 1980s. With the end of the May 4th Movement and the invasion of China by Japanese imperialism, the wave of westernization in literature gradually disappeared, especially after 1949. In the early 1980s, with Chinese mainland re-entering the open era, the wave of literature westernization surfaced again. After experiencing the ultra-nationalist literature of the Cultural Revolution, China writers in the early 1980s suddenly found that they were so close to western modernist literature in thoughts and feelings. At this time, Yuan Kejia translated Foreign Modernist Literature in time, and Xu Chi's promotion of Western Modernist Literature just met their needs, so an inexhaustible wind suddenly rose. This wave of westernization is first manifested in poetry, and the rise of obscure poetry is its first sign. There was a small group of people who loved poetry in Beijing. During the Cultural Revolution, they eagerly read western works printed by the authorities for leading cadres to read. They do not have a clear theoretical proposition and westernization tendency, but intuitively approach the western works they can see and imitate them. In this way, they inadvertently squeezed into the road of westernization. Since then, westernized modernist novels and dramas have become popular. In terms of novel theory, books such as "A Preliminary Study of Modern Novel Techniques" appeared. This book emphasizes that novels should reveal the contradictions in modern society, explore the inner world of characters, express complex human nature and try new ways of expression, which is in sharp contrast with the class theory, typicality theory and instrumentalism literature view at that time and is naturally criticized. At that time, an old writer said: "In recent years, some young writers have divorced their creation from life and blindly pursued the so-called' novelty, strangeness and strangeness', which is to blindly imitate some techniques of modern western literature and embark on an evil path." In this case, the Westernization School faced great pressure at that time, at least as much as that of Hu Shi and Zhou Zuoren when they advocated Westernization during the May 4th Movement. Therefore, in the 1980s, Westernization only regarded western modernist literature as a skill to avoid the opposition of those who advocated that "modernist literature is a bourgeois ideology, and socialist countries do not need and cannot need modernist literature". They put forward that if the western modernist literature itself is a part of bourgeois ideology, its artistic expression techniques are not ideological and can be used for reference and learning by proletarian literature. Indeed, it is much easier to demonstrate skills than to demonstrate that "Western modernist literature is a literature that criticizes the bourgeoisie, so it is proletarian and can become a part of proletarian literature". In A Probe into Modern Novel Skills, the author's discussion is strictly limited to "the evolution and development of skills". Can the same skills serve different contents? Specifically, can the techniques used by western modern bourgeois writers to embody bourgeois thoughts, interests and feelings in their novels be used by contemporary proletarian writers in China to embody proletarian thoughts, interests and feelings? "This question has been answered in the affirmative. On the surface, the author is calling on China writers to learn from western modernist novels in skills. In fact, the author puts forward a westernized "modernist literary view" (comparatively speaking, we can call it the westernized "enlightenment literary view" put forward by the Westernization School during the May 4th Movement). In the preface of this book, Mr. Ye Junjian said, "According to some foreign works published by us and their print runs, our appreciation interest still seems to exist. We appreciate European18th century works, such as Balzac, Dickens, and even the earlier Revenge of Mount Kido, which is beyond modern works. As for domestic works, there is another strange phenomenon. Some people appreciate Elvis Presley, which seems to surpass the works of any modern writer in China-if the order of Xinhua Bookstore can be used as a criterion to judge the appreciation value of a work. I'm afraid this interest in' appreciation' still has the flavor of feudal times. The formation of this phenomenon may also be the result of our years of intangible cultural isolation. "From the above analysis, we can see that the author is actually trying to promote western modernist literature, but this promotion is just shy. Its logic is that "the skills of western modernist literature can be used for reference by China proletarian literature, and the content of China proletarian literature can be expressed in the form of western modernism. "This way of argument reflects the typical thinking of a group of middle-aged and old writers and theorists who have experienced the Cultural Revolution and have fresh memories of its sufferings.

However, younger theorists are not satisfied with this secretive "Westernization Theory". They prefer to clarify their Westernization thoughts in a radical and straightforward way. A famous young theorist at that time thought that all the modernists in China at that time were "pseudo-modernists". "Writers are mostly bound by social rationality and moral norms, and the ideas they express are social, rational and moral, but they adopt modernist artistic techniques, resulting in the separation of external forms and internal concepts." ("crisis! In the eyes of younger theorists, the modernization of China's literature can not be achieved simply by drawing lessons from western modernism, but will only move towards "pseudo-modernization". The real modernization of China literature must start from scratch: not only technically, but also ideologically. There is a form of western modernism, but there is no content of western modernism, which is the crisis of China literature; We must make up our minds to modernize China literature in content and form. This view actually emphasizes that China literature should be westernized not only in form (modernism), but also in content (modernism of literary experience). 〔6〕

This radical view of Westernization was severely criticized as soon as it appeared, which forced this school to go back in history under the guidance of China's new literature and provide historical evidence for its own views. Under the influence of this concept, there is an impulse to reinterpret the history of modern literature in China from the perspective of western modernism. Huang Ziping's three-person dialogue with Qian Liqun and Chen Pingyuan in 1985 "On China Literature in the Twentieth Century" [7] is such a passage, which states that "China literature in the twentieth century is saturated with a sense of crisis and anxiety, and it is saturated with an aesthetic feature that is completely different from the rationality, justice, romantic passion or elegance of literature in the nineteenth century. Generally speaking, there are profound similarities between China literature in the 20th century and the world literature in this century. In fact, this paper completely overturns the previous judgments of China academic and political circles on the nature of China literature in the 20th century, and holds that China literature in the 20th century is a modernist literature with the same structure as western modernist literature in the 20th century. This is a reinterpretation of China's literary trend of thought in the 20th century. At the same time, this trend of re-reading also occurs in the specific field of writers' works. Wang Hui, Wang Xiaoming and Wu Jun began to pay attention to the modernist factors in Lu Xun's novels and essays. In Lu Xun's works, the importance of essays has obviously decreased, and for a time "Wild Grass" has become Lu Xun's masterpiece. Accordingly, the rereading of On Contradiction and works by writers such as Ba Jin has become popular. As a result, a wave of "rewriting the history of literature" developed.

Westernization not only exerted a great influence on the development history of China literature in the 20th century as the direction of guiding the development of literature, but also exerted an influence on the history of China literature theory in the 20th century as the guiding ideology of literary theory, such as Chen Pingyuan's Study on the Transformation of China Modern Literature. Chen Pingyuan's observation on the evolution of China's modern novels is actually based on a set of westernized evaluation models. Chen Pingyuan said, "... the mainstream of China's novels is still to push vernacular novels. The language of vernacular novels is fresh and popular, and they are good at describing the world. In addition, the transformation of literati in Ming and Qing Dynasties has infiltrated many colors of literati literature, resulting in a number of excellent works such as The Scholars and A Dream of Red Mansions ... Vernacular novels have strong artistic expression and occupy an important position in the history of China novels, but they can't get rid of the tone of storytellers-both of them (referring to classical Chinese novels and vernacular novels-Ge) can't afford to change. [8] After reading this quotation, we can't help asking: "Since China's classical vernacular novels have so many advantages, why should they be' reformed'? Why is the storyteller's tone not a modern novel skill? Obviously, the standards of Mr. Chen Pingyuan's modern novels come from the west. He asked China to "make a big change in novel concept and mode of communication", which is actually westernization. This is how he came up with the view that China's traditional vernacular novels are not modern novels, and vernacular novels must accept "modernization". In fact, the 20th century China literary circles did not study the narrative mode of China's ancient vernacular novels, especially the vernacular novels. We know little about the "modernity" factor in the narrative mode of China's ancient vernacular novels, and simply define it as "non-modernity" from the narrative mode of western modern novels.

Westernization played a leading role in the development history of China's new literature in the 20th century, and promoted the modernization of China's literature. The present situation of China literature has much to do with this, but it also caused some fatal defects in China literature and its theory in the 20th century. This deficiency is just like what a theorist said: "(1) lacks its original basic proposition that it is not' stealing'; (2) Lack of original concept system that is not "borrowing"; (3) Lack of original and non-transplant philosophical standpoint. " [9] In the growth and development of nearly a century, China's modern literature and its theory often lingered in the shadow of the West: its basic theme (the enlightenment of "human literature" thought) was western, and its basic forms, such as the modern narrative transformation of China's modern novels in narrative mode, also moved to the West.

Second, "nationalization" and its history

Zhou Zuoren wrote "The Value of China Folk Songs" in 19 19 September 1, and defined "folk songs" as "ballads that originated among the people and were loved by the people to express their feelings or facts". As can be seen from this article, Zhou Zuoren has noticed the problem of "national literature" at this time. But at this time, he opposed the attitude of "criticizing folk songs with appreciation" and thought that folk songs had no artistic value. It only agrees to use folk songs as folk information "to make China people introspect". Since then, he has strongly criticized the content and form of "folk songs" in a series of articles such as People's Poetry [10]. By 1922, 12 and 17, Zhou Zuoren was still critical of "people's literature (folk songs)" in his Introduction to Ballad Weekly, but at this time, his views had changed greatly. He said: "This association collects folk songs for two purposes. ..... Ballad is an important information in folklore, so we make a special study on it. This is the first purpose. ..... from these academic materials, and then selected from the perspective of literary criticism, compiled into "The Voice of the Nation" anthology. Vettel of Italy once said: "Based on these folk songs and the real feelings of the people, a new kind of' national poetry' may be produced. In other words, Zhou Zuoren vaguely had the idea of establishing "national literature" on the basis of folk songs. However, his views are not clear. The article "The Value of China Folk Songs" mentioned earlier was actually published in the June 5438+0923+1October 2 1 No.6 issue of Ballad Weekly. Although it was written in June, 5438+09 19, it was first published in June, 5438+0923, which is different from the previous ballads. However, he said in the preface of Greek Island (later included in Yongri Collection): "It is natural that China's current literature and art roots come from foreign countries; However, what kind of flowers will bloom in the future after being planted in this ancient country and receiving special soil flavor and air is really eye-catching. Studying Greek folklore can help us understand ancient and modern Greek literature. China also needs to study its own folklore if it wants to establish national literature and express the temperament life of most people. Although this is knowledge within the scope of anthropology, it has a very important relationship with literature. " Zhou Zuoren has realized that westernized art must be combined with folklore research and China soil if it is to take root in China and blossom in national literature. Zhou Zuoren's above views can be regarded as the supplement and reflection of the Westernization School's views on the Westernization of literature during the May 4th Movement, and also as their superficial thinking on the nationalization of literature. Judging from the practice of literary creation, there are two ways for the May 4th Westernization School to explore the nationalization of literature. The first is to learn from folk songs. In this regard, Liu Dabai and Liu Bannong made an excellent attempt. The main energy of this school is to learn from folk songs and form a new style of China's modern vernacular poetry. Most of their poems have a strong local flavor, which is completely different from Guo Moruo's later poetry creation. Second, the spirit returns to the homeland, and obtains the spiritual space in the reflection on the local life. In this respect, a school of local literature represented by Lu Xun was formed. They used a westernized novel mode to write a life full of China local flavor, but at that time, the main energy of this school was to criticize China's national character, instead of using the qualities that can be absorbed in folk spirit for reference to revitalize China's modern culture. This party has basically turned a blind eye to the carnival spirit and survival will of the people of China. For example, the understanding of Ah Q's spirit, as an inferior person with livelihood problems, is it a kind of spirit that he lives tenaciously and has a taste of spreading joy? Most modern enlighteners in China think that people like Ah Q have only bad habits. They haven't occupied the position of people, and they don't deserve to be human. They didn't think that although Ah Q is a servant, or at the extreme, he doesn't look like a human at all, but he also has the right to live. From the point of view of survival, it is important to live and then try to live better. It can be seen that Ah Q's attitude towards life is not necessarily worse than that of the enlightener. Ah Q has a unique spirit of laughing, teasing and laughing among the people in China. He lived not to verify the merits and demerits of history, nor to make contributions, but to struggle for survival. Whenever possible, he makes every bleak day like a festival, sometimes a little rough, such as asking Wu Ma for a little boring, sometimes a little crazy, such as asking Grandpa Zhao for a kiss or something, sometimes a little sour, such as revolution. For example, on the way to the execution ground, he knew he was going to die. At this time, of course, he was afraid, but he immediately concealed his fear and sang a big drama, almost fierce. No matter what he died for, whether it was worth it or not, we can all admire his courage in the face of death (regardless of his motives). It is here that we see the banter spirit of China people. In the sense of banter and revelry, eating, drinking, singing, execution and sex are put in the first place in life. Think of life as a carnival performance, no matter whether it is reasonable or not, whether it is meaningful or not, we must perform this play well. This is the survival technology and spirit that China people have learned in thousands of years of history. Under the appearance of banter and ridicule, the dominant force of "people" is highlighted. This spirit has been growing among the people of China and passed down from generation to generation among folk figures in China. Completely different from China orthodoxy, it combines Confucianism, Buddhism and Taoism, so it has been suppressed and erased in orthodox language. Although the modern enlightenment intellectuals in China opposed the traditions of the three religions in spiritual temperament and interest, advocated novels and collected nursery rhymes, and tried to get nourishment from folk culture, they did not find the power of this kind of folk banter and banter. Lu Xun was one of them, and Lu Xun did not see the power of resistance, pursuit and desire infiltrated in this banter and banter. Therefore, we say that this school is localized and national in novel content, but westernized (enlightened) in spiritual temperament, and has not appreciated the folk spiritual resources of the Chinese nation.

Generally speaking, the mainstream thoughts in China's literary world during the May 4th Movement were occupied by the Westernization School. However, the Westernization School does not mean that the nationalization of literature has never been thought of at all, and it is not without the Nationalization School when the Westernization School occupies the mainstream. For example, Xue Heng School advocates "melting new knowledge" on the basis of "flourishing the quintessence of Ming Dynasty". In an article from 65438 to 0922, Mei Guangdi thought that "China people advocate reform. It's been decades. At first, I surpassed myself in western Europe. Limited to industrial and commercial manufacturing. Then admire its political and legal system. Today, it is also an educational philosophy, literature and art. The speed at which it entered Europeanization. It seems amazing. However, look at the reality carefully. Then efficiency is inversely proportional to speed. [1 1] "Mei Guangdi did not completely refuse to learn from Western Europe. What he rejected was the pathological phenomenon of "pseudo-Europeanization". In his view, this kind of pseudo-Europeanization (this formulation seems to be combined with the above-mentioned "pseudo-modernism" formulation in the theoretical circle at the end of the 20th century, but its position and appeal are just the opposite). First, it emphasizes imitation and ignores creation. What's more, they imitate westerners and get only dross, while China people imitate the ancients and get a lot of essence. "Second, people who advocate Europeanization don't really understand European culture, but take everything, and eventually lose the foundation of creation-China culture, and take away the residue of others. This is a group of populists, who think that foreign countries are not as good as China, and China's literary construction must follow the ancient road of China. There are not many writers who hold similar populist views in literary creation, but many writers, such as Shen and others, have embarked on the road of transforming ancient poetry. Even Zhou Zuoren has to admit his success. Of course, Zhou Zuoren's explanation of Shen is essentially "Westernization": "Yin Mo felt that the emerging oral and prose styles could not closely fit his mood, so he turned to classical Chinese, but he was able to control it. Therefore, his classical Chinese still listens to him, and his poems are still modern new poems. Its appearance is slightly different from ordinary new poetry, I think, just because the atmosphere is slightly different. [12] "Some new poets discussed by Hu Shi in" Talking about New Poetry "[13] also took the road of transforming ancient poetry and prose:" Most of the' new poets' I know are born out of old-fashioned poems and songs except the Zhou brothers in Huiji. Hu Shi, like Zhou Zuoren, affirmed Shen's attempt, thinking that Shen achieved the effect of China's old-style poems in language and syllables, and made the "most complete poem" in new poetry [14]. Therefore, it can be roughly said that China's road to new poetry was originally on the road of "half words and half songs". This situation didn't change until Guo Moruo came out in Japan and Xu Zhimo came back from studying in Europe [15]. It was not until the rise of symbolism poets represented by Li Jinfa and modernism poets represented by Xu Zhimo that the westernization of China's poetry was considered to have its own view.

We know that both Hu Shi and Zhou Zuoren are essentially westernized. They think that China's new poetry must be westernized as a whole, but under the general idea of westernization, they are very wise in strategy. They all agree with the exploration road based on national roots at the beginning of the birth of new poetry. Zhou Zuoren said in the preface of Liu Dabai's Old Dreams: "I believe that strong local taste is also an important part of the literature of the world." Various interests do not conflict and form a harmonious whole, which is the value of "cosmopolitan" literature. " That's what it means.

It was after 1930 that a group of writers gathered around Pioneer magazine directly put forward the slogan of literary nationalism. 1930, they published the Manifesto of Nationalist Movement [16], arguing that China's literature and art were facing a crisis. First, the "residual feudal thought" still dominates everything invisibly. Second, left-wing literature and art regard art as a class struggle. Presenting art as a "bloody struggle for victory or death", they believe that the above crisis is due to the lack of central consciousness in the development of new literature and art. In order to construct central consciousness, it is necessary to establish national art from the perspective of national consciousness. "The highest mission of literature is to give play to the national spirit and national consciousness to which it belongs. In other words, the highest meaning of art is nationalism. " "The full development of national literature and art must wait for the establishment of a political national state", "the development of national literature must be accompanied by the emergence of a national state", and conversely "the national movement in literature and art directly affects the establishment of political nationalism", so "nationalist literature and art not only shows the national consciousness that has been formed; At the same time, create a new life for that nation. " The nationalization thought of this school has its rationality. First, after the May 4th Movement, China's literary world was permeated with westernization. Novels, poems and plays are all directly imported from the west, and even the language is Europeanized, and another Europeanized language has emerged. Although it was written in vernacular Chinese, it was divorced from the spoken language at that time, which caused obstacles to the development of new literature. Second, after the National Revolution, China established a nation-state in the modern sense, and national consciousness began to take shape, surrounded by great powers, especially the rise of Japan in the East. The views of this school are very extreme. It only thinks that literature and art are national, not worldwide. It also opposed left-wing literature and feudal literature and art side by side, misjudged the value and significance of left-wing literature, and theoretically did not distinguish between literary nationalization and cultural nationalism, racial nationalism and national nationalism.

If the dispute between Westernization and Nationalization before the nationalist movement is mainly centered on the direction of China's literature modernization, then the subsequent debate is attached to the proposition of "how literature can be accepted by a wider public, thus serving War of Resistance against Japanese Aggression, the war of liberation and proletarian politics after liberation". The occurrence of this problem began with the slogan dispute between "national defense literature" and "popular literature of national revolutionary war" When War of Resistance against Japanese Aggression broke out, literature had to publicize the Anti-Japanese War to the public, which resulted in the problem of "how to face and inspire the public in the form of literature". Mao Zedong was the first to put forward the slogan of "national form", and Mao Zedong may have been influenced by Soviet literature and art [17]. 1938, Mao Zedong made a report on "China's * * * Production Party's Position in the National War" at the Sixth Plenary Session of the Sixth Central Committee of the Party,%.