What is the content and form of literary revolution?

In those years after the failure of the Revolution of 1911, the literary world, like the whole cultural and ideological circle at that time, was full of scenes of depression and sunset. The old literary reform movement has died down, and all kinds of feudal literature are still full of literary and artistic fields. It is not uncommon for literary works to attack current politics and expose reality, but shady novels, mandarin ducks and butterflies novels and vulgar "civilized dramas" with the themes of shady, erotic, martial arts, detectives and Gong Yu are all the rage. Far from social life, literature has only become a tool for a few literati to entertain themselves, make profits or even flaunt or vilify each other. Feudal warlords and their imperial literati not only advocated "respecting Confucius and reading classics", but also used literature to spread feudal ideological toxins and attack revolutionary figures. The "new style" that appeared in newspapers and periodicals in the late Qing Dynasty and was improved from classical Chinese gradually disappeared under the exclusion of feudal literati. The cliches of old literature still affect many people. This literary countercurrent is a reflection of the political climate in which feudal forces were rampant at that time in the literary field. It not only deviates from the progressive tradition of China's classical literature and modern literature, but also hinders the development of China's literature. It is also a serious obstacle to enlightenment, which is beneficial to the ignorant policies of reactionary rulers and is not conducive to the awakening of the people. This situation will naturally be opposed by advanced intellectuals. As the editor of "New Youth" later said in "Defending Local Crimes": "If you want to support Mr. De and Mr. Sai, you have to oppose the quintessence of Chinese culture and old literature." The literary revolution came into being to meet the needs of the ideological revolution under the banner of democracy and science at that time and the development of China literature.

The "literary revolution" was formally put forward in February 19 17. But before that, some progressive publications were already brewing. Shortly after the publication of "New Youth", according to the situation of domestic literary circles, he published articles such as "History of Modern European Literature and Art", introducing the changing process of western modern literary thoughts from classicism and idealism (romanticism) to realism (realism) and naturalism. Chen Duxiu also clearly expressed his desire for literary reform in his correspondence: "China's literature and art are still in the era of classicism and idealism, and should be realistic in the future. The article focuses on chronicles, and painting focuses on sketching, which is enough to drive the unhealthy trend of today's flashy decline. " (Note: Answer to Zhang Yongxin, No.4, Volume 1, Youth Magazine, 19 15, 12. This idea has been endorsed by some people. Related to this, New Youth also discussed the issues of unifying language and "adopting Mandarin". 19 16 In August, when Li Dazhao founded Morning Bell, he even issued a call for a new literary movement. He said: "The birth of new civilization must be guided by new literature and art, and the prosperity of new literature and art depends on one or two philosophers, especially those who make mistakes in this world, give play to their ideals, give play to their self-authority, and call for self-awakening. Then, there are many people's dreams, and they are shocked at this. " (Note: The mission of Morning Bell, the first phase of Morning Bell,1915, August 2006. These situations show that with the gradual deepening of enlightenment, it is indeed the general trend and imperative to launch a reform movement in the field of literature.

It is in this case that even he himself admits that "there are many literary reformers now", and Hu Shicai intervened in this movement and put forward his thoughts on literary improvement. 19 17 years 1 month, he published the article "improvement of literature" in New Youth, and thought that the improvement of literature should start with "eight things", that is, words must have something, people should not be archaized, grammar should be emphasized, people should not groan, and cliches should be avoided. At the same time, the Front advocates that the written language is close to the spoken language and demands that the vernacular literature be "authentic". Hu Shi's "eight things" are obviously aimed at the formalism and antiquarianism of old literature. When literature is far from life and cliches are prevalent, it is positive to put forward these opinions at the beginning. He clearly advocated using vernacular Chinese instead of classical Chinese, which really complied with the requirements of historical development. Compared with the "new style" of "improving classical Chinese" advocated by Liang Qichao and others in the late Qing Dynasty, it is a great progress after all. As Cha Yuanpei said, "Vernacular writing was quite popular in the first ten years of New China ... but the reason for writing vernacular writing at that time was to make it easy to understand and popularize common sense, not to replace classical Chinese. Advocating the use of vernacular Chinese instead of classical Chinese and raising the banner of literary revolution began in the era of "New Youth". " (Note: Preface of China New Literature Series. ) and Hu Shi's contribution. However, Hu Shi's proposition itself has a tendency of formalism. The so-called "eight things" can later be renamed as "eight noes" (note: Hu Shi later changed the first, third and fifth items of his original "eight things" into "nothing to say" and "nothing to do" in On the Literary Revolution of Construction published in April 1965438. Even what he called "having substance in words", as Chen Duxiu pointed out at that time, didn't draw a clear line with "writing carries Tao" advocated by old literature. If we really follow Hu Shi's ideas, there will be no fundamental change in the form of literature except vernacular Chinese, let alone a completely anti-imperialist and anti-feudal new literature. Lu Xun put it well: "literary innovation alone is not enough, because corrupt ideas can be used in both ancient and vernacular Chinese." (Note: Silent China. ) Hu Shi later brazenly boasted that he was the troublemaker of the whole new literature movement, and said that "the main significance of the literary revolution is really only the revolution of literary tools" (Note: Introduction to China's new literature series construction theory set), which can only be a distortion of history and a deliberate tampering and mockery of the tradition of the May 4th literary revolution.

It was Chen Duxiu, the representative of radical democrats at that time, who really held high the banner of Zhang Wenxue Revolutionary Army. In the article "On Literary Revolution" published in the sixth issue of the second volume of New Youth, he clearly put forward "Three Cardinals" as a resounding slogan of anti-feudal literature:

It is said that it is to tear down polished aristocratic literature and build simple and lyrical national literature;

It is said that it is to overthrow the stale and extravagant classical literature and build a fresh and sincere realistic literature;

It is said that it is to tear down pedantic and difficult mountain literature and establish a clear and popular social literature.

Chen Duxiu's spearhead was directed at feudalism. He not only opposed the malpractice of "carving" in the form of old literature, but also emphatically opposed the "shady and dirty" in the content of feudal thought, and regarded the literary revolution as a "sharp weapon" for "developing civilization", "transforming national character" and "innovating politics". Chen Duxiu boldly denounced Liu Yao, who had always been worshipped by feudal scholars, as the "eighteen demons" and called on people to declare war on him "regardless of pedantry". He took the European bourgeois literature in the19th century as a model and demanded that the new literature should be "naked lyrical". He also said: "To improve China literature, when vernacular Chinese is regarded as authentic literature, its right and wrong are very clear, and there is no room for discussion for opponents" (answer to Hu Shizhi's letter, New Youth, Volume 3, No.3,1965438+May 2007); This attitude is obviously much braver than Hu Shi's "dare not take what our generation advocates as necessary". It can be said that Chen Duxiu resolutely inherited and developed the bourgeois literature reform movement in the late Qing Dynasty and pushed it to the highest point. Under the historical conditions that Marxism has not spread in China, these thoughts have played a very positive role in cracking down on feudalism and feudal literature and expanding the influence of democracy and realism in the field of literature.

After the proposition of the literary revolution in New Youth was put forward, it was echoed by Qian, Liu Bannong and others. In a series of open letters to periodical editors, Qian lashed out at the old literature, denouncing the archaized parallel prose and prose as "choosing to learn evil" and "Tongcheng school fallacy", and explained the necessity of advocating vernacular Chinese from the evolution of language and writing, and strongly advocated "consistency between words and writing". Liu Bannong published "My Opinion on Literary Improvement" and other articles, arguing that vernacular Chinese and classical Chinese can be in an equal position for the time being, and at the same time advocating breaking the superstition of the old style, and putting forward specific measures such as creating new rhymes and using new punctuation from the perspective of phonology. These words also promoted the development of the literary revolution.

19 17 The literary revolution launched at the beginning of the year made indelible historical achievements in opposing feudalism and old literature. However, when the question turns to the other side, that is, establishing a new literary genre, the answer is not clear and specific. The so-called "simple and lyrical national literature", "fresh and sincere realistic literature" and "clear and popular social literature" are inevitably too general. At that time, most of the advocates despised or even denied the classical literature of their own nation, which led people's attention to the west completely. But what kind of western bourgeois literature is the blueprint of new literature, they are not very clear. Of course, they mainly introduced the works of European realist writers, affirmed that China literature should take the road of "realism", and also praised Oscar Wilde and other aestheticians. Instead of distinguishing the later naturalism, they advocated it as the latest direction. There are contradictions and confusions in Chen Duxiu's literary thoughts absorbed from the western bourgeoisie. For example, on the one hand, he advocates that literature should serve ideological enlightenment and political innovation, on the other hand, he emphasizes the so-called "independent value" of literature, and thinks that "if something is used to express its meaning and other conditions are attached, then the independent value of literature will be destroyed endlessly?" (Note: Answer Ceng Yixin's New Youth, Volume 3, No.21965438+April 2007. Although this thought has the function of opposing the feudal concept of "literature carries Tao", it also has its hidden crisis. For more than a year after its conception and formal presentation, the "literary revolution" mainly stayed on the discussion of theoretical propositions, and there were no really powerful new works (note: at that time, the only works praised in "New Youth" were Su's novels and Hu Shi's five or seven-character "vernacular poems"), which did not form a wider movement, which was not unrelated to its own shortcomings.

However, history has entered a brand-new stage before the literary revolution initiated by "New Youth" and guided by western social thoughts and literary thoughts was fully developed and more weaknesses were exposed. 19 18 years ago, with the gradual expansion of the influence of the October Revolution and the spread of Marxism, many new factors have emerged in the China Revolution. The May 4th Movement took place, and the proletariat of China stepped onto the historical stage, officially marking the beginning of the new-democratic revolution. In such a new historical period, it is impossible for the literary revolution not to undergo new changes and bear a new brand.

19 18 In May, Lu Xun's novel Diary of a Madman was published in New Youth, which sprayed an unprecedented flame on the feudal system that ate people for thousands of years. This is a thoroughly anti-feudal combat essay inspired by the spirit of the times. Since then, the literary revolution has broken through the limitations of the original theoretical proposition and started a truly great innovation in content. As a thorough revolutionary, Lu Xun has always opposed the formalism of "changing cards instead of goods" and advocated that "instilling appropriate academic literature and improving ideas are the first" (note: guiding the way across the river, New Youth, Vol.5, No.5, 19 1 1. In some works published one after another, he profoundly exposed the "roots of the old society" with severe realism, raised a series of important issues such as the way out for farmers, women and intellectuals from the height of revolutionary democracy, placed ardent expectations on the liberation of the oppressed people, and showed an unprecedented new theme in the history of China literature. In addition, poems such as Liu Bannong's Separated by a Layer of Paper and novels such as Ye's Is this also a person? Many works, such as Life, are also based on real life, exposing class oppression and class opposition, showing deep sympathy for people living at the bottom, and embodying brand-new ideological characteristics in the new period. After the May 4th Movement broke out, popular concepts such as "social transformation", "women's liberation" and "sacred labor" became important contents of new literary works. Guo Moruo's poems such as "Phoenix Nirvana" and "Ode to Gangsters" published in "Light of Learning" ignited the enthusiasm of the vast number of young people with their stronger rebellious spirit and yearning for the new social system. Many new literary works are full of this thorough democratic thought and hazy socialist tendency, which is the unique content endowed by the spirit of the times; It not only makes the new literature gradually replace the old literature with outdated ideas and reactionary contents with its strong vitality, but also clearly shows the fundamental difference between it and all modern progressive literature in China. This is an outstanding achievement of the literary revolution in the new historical period.

With the great innovation of literary content, the language form of literature must and does get great liberation. During this period, vernacular Chinese gradually became popular. Under the slogan of "poetry liberation", many members of the new literature movement have tried to write new poems in vernacular, apparently getting rid of the shackles of the old poetic style. Following New Youth, the newly-established Weekly Review, Trendy and other publications have also published various forms of vernacular literature creation and translation works. Driven by the May 4th patriotic movement, the vernacular Chinese has gone beyond the category of pure literature, and has formed a sweeping trend in almost the whole cultural field. Since the second half of 19 19, there has been a sharp increase in publications in vernacular Chinese all over the country. Even some old-fashioned publications, such as Novel Monthly and Oriental Magazine, which were originally mastered by old-fashioned literati, had to be gradually changed to vernacular from the following year because of business needs. By 192? In 2000, when vernacular Chinese replaced rigid classical Chinese, the Ministry of Education of Beiyang government finally recognized vernacular Chinese as "national language" and ordered national schools to adopt it. Classical Chinese, with a long history of more than 2,000 years, suffered a fatal blow in just a few years during the May 4th Movement, and most of its positions were captured. Although this fact shows the decay of feudal things themselves, it more clearly shows the unique power of the new-democratic cultural revolution. It is worth noting that the pioneers' advocacy of vernacular Chinese at that time has gone far beyond the simple concept of evolution and has a brand-new starting point. In front of the feudal literati, the vernacular was ridiculed as "vulgar and shallow" and "not worth mentioning", and it was called "the language of the driver and the pulp seller" (Note: See Lin Shu's History to Cha Heqing, Beijing Gong Yan Bao,19 18. ), Lu Xun once bluntly replied: "The voice from the mouths of 40 million China people will always be * * *' nothing to mention', which is really pitiful." (Note: The present butcher, Volume 6, No.5, New Youth,1965438+May 2009. ) Obviously, Lu Xun considered the issue of literary tools from the perspective of "40 million China people"-the broad masses of the people. This also shows that the "May 4th" literary revolution and the vernacular movement are actually a starting point for the popularization of literature and art, which has already included the initial tendency and significance of the later popularization of literature and art. ..

Since 19 18, new changes have taken place in literary thoughts and concepts. More and more people have accepted the concepts of "for life" and "expressing life" in literature, and realistic literary thoughts have gradually taken advantage. Based on this idea, New Youth, Weekly Review, Trendy and other publications launched a fierce attack on shady novels. At this time, the problem of reforming the old drama began to be raised. Some people developed to call the old drama "the dance of beasts" and totally denied it. At the same time, some intellectuals with preliminary ideology began to use historical materialism to examine various spiritual phenomena, including literature, and came to the conclusion that "all social and political, legal, ethical and philosophical, in short, all spiritual structures change with the structural changes of the economy" (Note: Li Dazhao: "My View of Marxism" (I). ) conclusion. They firmly believe in the great future of new literature, and at the same time try to put forward new requirements and make new explanations for it. In view of the so-called "literary revolution is nothing but literature that creates a national language for China" advocated by Hu Shi and others (Note: Hu Shi: On the Literary Revolution of Construction, New Youth, Volume 4, No.41965438+April 2008), New Literature is Vernacular Literature (Note: Fu Sinian: How to write New Youth in vernacular? He said: "I mean, I don't think articles written in vernacular are new literature;" Just introducing some new theories and facts, describing some new characters and listing some new terms are not new literature. " He sharply criticized the "good name" mentality of some new literature writers, and put forward that "the new literature we want is the literature for social reality, not the literature for making names for individuals"; Therefore, Author's Psychology must eliminate the old poison and new poison of imperial examinations (referring to feudalism-importers) and businessmen (referring to capitalism-importers). Li Dazhao actively advocated that new literature should be based on "profound thoughts, theories, firm beliefs, beautiful literature and art, and the spirit of fraternity". This article was written in 19 191February, shortly after the debate on "Problems and Doctrine" began. It can be considered that the "creed" that Li Dazhao demanded here is exactly the Marxism that Hu Shi strongly opposed and resolutely defended. The article mentions "the spirit of fraternity" and "the doctrine of firm belief" at the same time, which naturally reflects that it will take a long time for the author to completely change from a democrat to a producer of * * *. However, it is worth noting that Li Dazhao's so-called "spirit of fraternity" or "heart of fraternity" is used as the opposite of individualism "good reputation", and its real meaning is different from that of the bourgeoisie. Although "What is New Literature" is only a short article, some expressions are still vague, but from the actual content, it has initially touched on the important issue of whether the new literature movement develops along the road of revolution or improvement, proletarian collectivism or bourgeois individualism. It is an active call for literary movement by intellectuals with preliminary productive thoughts.

In addition to the above aspects, the massive introduction of foreign literature is also an important part of the May 4th literary revolution. Since 19 18, Ibsen's special issue of "New Youth" and the translation of "Nora" came out, this introduction has entered a new paragraph, and its scale and influence far exceed that of any modern period. Lu Xun, Liu Bannong, Shen Yanbing, Zheng Zhenduo, Qu Qiubai, Geng Jizhi, Tian Han and Zhou Zuoren are all active translators and introducers. At that time, almost all progressive newspapers published translated works. Since then, some famous Russian and other European countries, Japanese and Indian literary works have been systematically introduced to China readers. This makes China literature and the world's progressive literature have a certain "* * * homophony", which helps China's new literature get rid of the shackles of the old literature and promotes its reform and development. At that time, many people still lacked the critical spirit of historical materialism and could not distinguish the essence and dross, the positive part and the negative part of foreign literature. Therefore, while translating and introducing a large number of excellent works, I recommended many mediocre and even reactionary works. However, some advocates of new literature (especially figures in the new wave) blindly advocate "total westernization" and so-called "Europeanized vernacular" and "Europeanized national literature" (Note: Fu Sinian: How to make vernacular, trendy, vol. 1, No.2, 19 19. However, on the whole, the introduction of foreign literature during the May 4th Movement still played a great role in progress. The works of many new literature writers such as Lu Xun and Guo Moruo show that they have accepted the positive influence of foreign literature on the basis of their original efforts. Pioneers once put the research and introduction of Russian progressive literature in the most prominent position. They not only saw the new hope of national liberation from the October Revolution, but also saw "the kind soul, the bitterness and struggle of the oppressed" from Russian literature, and understood that "there are two kinds of people in the world: the oppressor and the oppressed" (note: "Gathering the South, I wish Chinese and Russian characters alternate"). Qu Qiubai in 1992? In an article written in March 2008, this was explained:

However, the study of Russian literature seems to have reached its peak in China. Why is this happening? The main reason is that the Red Revolution in Vic, Bolza, Russia has brought great changes in politics, economy and society, shocked the world and influenced the world's thoughts. We have to trace its origin and examine its culture, so unconsciously the eyes of the whole world are focused on Russia and its literature; In such a dark and miserable society as China, everyone wants to open up a new path in the present situation of life. Listening to the sound of the disintegration of the old Russian society, it is really empty and can't help but be tempted. So everyone discussed and studied Russia. Therefore, Russian literature has become the goal pursued by China writers. (Noe: Qu Qiubai: Preface to the Collection of Famous Russian Short Stories, published by Beijing Xinhua Magazine in July, 1920. )

Taking Russian literature as the "goal" is, on the one hand, the correspondence between the progressive tradition of these works and the readers in China, and on the other hand, the embodiment of the determination of the advanced elements in China to take the road of October Revolution in the field of literature. This is an impossible historical phenomenon in the past and is unique to the May 4th Movement. China's progressive literary world initially turned its attention from the west to Russia and the Soviet Union, which shows that the literary revolution has been brewing and is undergoing qualitative changes.

Closely related to these aspects is the formation and development of the new literature United front. Driven by the May 4th patriotic wave and influenced by the trend of democracy and socialism, this United front has trained and united a large number of new literary writers and young artists with the publications of New Youth, New Tide, Morning Post Supplement, Deng Xue and Young China People as its main positions and Lu Xun as its standard bearer. Later, many literary societies appeared, and their members appeared or accepted the influence of the May 4th literary revolution.

In just a few years, the May 4th literary revolution movement has made great achievements in many aspects, which is the result of its full compliance and adaptation to the historical requirements of the times, the spread of Marxism, the arrival of the proletariat on the historical stage, and the entry of the China Revolution into a new era. It is also the result of raising the banner of the early "New Youth" against old literature and advocating new literature. Although there are still some weaknesses or limitations in the May 4th literary revolution, such as the lack of historical critical spirit in dealing with specific things and the failure (and impossibility) of popularizing new literature among workers and peasants, it is a truly great revolution. There has never been such a great and thorough revolution in the history of China literature. Although China's excellent classical literature and modern progressive literature have anti-feudal contents, they have never been able to thoroughly criticize and deny the whole feudal system and its ideological system as the May 4th New Literature did. The May 4th New Literature replaced all kinds of old themes with new themes saturated with modern democratic ideas. Farmers, laborers and new intellectuals have replaced the most common protagonists in old literature-emperors and generals, talented people and beautiful women. The theme of fighting for freedom of marriage, which has always been common in Lian Wenxue, also has new characteristics of the times in the May 4th New Literature, which runs through the new concept of personality liberation. Moreover, this kind of personality liberation is often combined with national liberation and yearning for socialism. Therefore, the "May 4th" new literature is not only sharply opposed to feudal literature, but also far higher than the literature with democratic tendency in feudal times and the general bourgeois literature in modern times. Such a thoroughly anti-feudal literature, full of national awakening spirit and resolute anti-imperialism, can constantly accept the guidance of proletarian ideology and resist the corrosion of bourgeois reactionary ideology, and must take socialism as its development direction. The May 4th literary revolution launched a movement to oppose classical Chinese, advocate vernacular Chinese, create new poems and transform old dramas, which brought great innovation and liberation to literary language forms. The long-term isolation of the working people in China from written literature is due to fundamental social and political reasons, but it is also related to the long-term difficult-to-read and difficult-to-understand authentic position of classical Chinese in the field of literature and art. The application of vernacular Chinese has brought literature closer to the people in language form. The May 4th literary revolution opened the first glorious page of people's anti-imperialist and anti-feudal literature with its comprehensive innovation from theoretical proposition to creation and from literary content to form, which made China literature enter a brand-new development period.