In addition to Zhao Shuli, there are writers such as,, Rong,, Sun Gan and so on. Ma Feng (1922-) is from Xiaoyi, Shanxi. I joined the Eighth Route Army before I graduated from primary school. During the war, he was engaged in editing newspapers and publishing houses in the Jin-Sui border region. 1945 co-authored the novel Biography of luliang heroes with Xirong. After working in Beijing in the early 1950s, 1956 returned to Shanxi. Ma Feng's works in 1950s and 1960s are mostly short stories, except the film scripts such as Young People in Our Village serialized in publications and biographical literature Liu Hulan Biography. His main works are Marriage, Uncle Zhao, Watchman, I knew it three years ago, The Sun just came out of the mountain, My first superior, Old Member and so on. Xirong (1922-) started writing novels while working in the Jin-Sui Border Region during his stay in War of Resistance against Japanese Aggression. In the early 1950s, he served as the editorial board and editor-in-chief of West Sichuan Daily and Sichuan Literature and Art in Sichuan. 1954 back to Shanxi. There is a collection of short stories, The Girl's Secret and The Tale of High Yield. Works collected by the latter (Corduroy, Mrs. Lai, Tales of High Yield, etc.). ) were written after 196 1 year, and the style turned to simplicity. Among them, "Mrs. Lai" wrote a selfish, overspent "no profit and no early" rural woman, who ran into a wall and was educated everywhere in her life. In the 1960s, this short story was not only cited by critics who advocated "deepening realism" to illustrate their arguments, but also was criticized by later critics who advocated "deepening realism" and "writing the theory of" middleman ". (Note: See Shao Quanlin's speech at the Dalian Rural Short Story Creation Symposium (Collection of Shao Quanlin's Comments, Volume I, People's Literature Publishing House, 198 1 year), and reported to the editorial department of Writing Materials for Intermediate People (newspaper, 1964)).
Zhao Shuli (1906- 1970) is a native of Qinshui County, Shanxi Province. In the 1940s, his works, such as The Marriage of Young Blackies, Li Youcai Banhua, and The Changes of Li Jiazhuang, gained a high reputation in the left-wing literary circles in the Liberated Areas and the Kuomintang-controlled areas. The main works since 1950s are: Short Story Registration, Begging for Rain, Golden Word (rewritten from memory), Exercise, Old Quota, Unforgettable Hand, Grandpa Yang, Zhang Laixing, Mutual Appraisal, Selling Tobacco Leaves and Novel Sanliwan. In addition, there are drum lyrics "One Stone Never Rots to Drive a Car", minor "Wangjiapo", Zezhou Yangko "Opening a Canal", Shangdang Bangzi "Shilidian" and Shangdang Bangzi's adaptation of "Three Customs Banquet". Some of his works have been adapted into various literary styles. For example, Registration was adapted into Shaanxi Opera, Henan Opera, Cantonese Opera, Pingju Opera and Shanghai Opera and performed under the name of "Luohanqian". Most of Zhao Shuli's novels are set in his hometown in southeast Shanxi. He still keeps close and lasting contact with people and things in this area, so stories and characters still have the simple characteristics of "the bottom of life". He continued his experiment and built a bridge between "new literature" and "rural readers". (Note: Zhao Shuli named his collection of novels published in 1963 "Going to the Countryside" (Writers Publishing House), saying that it was specially printed for "rural readers". But he did not further explain the concept of "rural readers". In addition, he is not as confident as before, but he said with some doubts, "Although I have written something for you subjectively, how many copies can I actually send to the countryside, who are willing to read it in your place, and how do you feel after reading it?" ("Sending Rural Readers" is accompanied by "Going to the Countryside"). ) In the concept of novels, we also insist on the same understanding of novel writing and rural "hard work". But later, it seems that he no longer insists on taking novels as a guide to rural work, but highlights the functional view of "teaching" inherited by traditional operas. "As the saying goes,' storytelling and singing opera is to persuade people!' That's right. We write novels, just like storytelling and singing opera (storytelling is telling novels), and we convince people by reasoning. "Writing a novel is to shake the" old influence of old culture, old system, old customs and old habits on people's minds "that are accustomed to but unreasonable (note: Zhao Shuli named his published 1963 novel collection" Going to the countryside "(Writers Publishing House), saying that it was specially printed for" rural readers and comrades ". But he did not further explain the concept of "rural readers". In addition, he is not as confident as before, but he said with some doubts, "Although I have written something for you subjectively, how many copies can I actually send to the countryside, who are willing to read it in your place, and how do you feel after reading it?" ("Sending Rural Readers" is accompanied by "Going to the Countryside"). )。 So in the works, such as registration, three mile bay, exercise and so on. Although the "movement" in the countryside still constitutes their skeleton, it is the wave marks and conflicts left by the changes of social customs and ethics in his daily life on farmers' psychology, family relations and public-private relations that impress readers the most.
Compared with the 1940s, Zhao Shuli's novels in this period were indeed "slow, restrained, rigorous and cautious", and "some of them lost the vigorous strength of their youth" (Note: Sun Li talks about Zhao Shuli, Tianjin Daily, 1979, 1.4). )。 This is because he gradually drifted away from the "youth" of that year. As far as the writer's environment is concerned, there is still a lot of "space" for the political ideology norms in wartime writing to accommodate the writer's creation, his sensibility and folk cultural and artistic imagination; At that time, the renewal of rural traditional customs and concepts that Zhao Shuli expected coincided with the changes promoted by revolutionary politics in rural areas. In the 1950s, not only the norms of literary writing became stricter, but also the radical process of economic and social transformation had an all-round impact on the traditional life in rural areas, which caused the conflict between "social development" and "tradition" and aroused the writers' sharp inner worries. His artistic imagination based on his understanding of folk customs and folk culture is bound and cannot be fully displayed. Worried about the excessive destruction of traditional rural life and morality by contemporary radical economic and political changes, and worried about the maintenance and excavation of traditional virtues based on labor became the theme of later creation. Different from the works such as Marriage of Little Black Boys, Heirloom, Registration and Sanliwan, which show that the younger generation is getting rid of the obstacles of the older generation and heading for a new life, Exposing Hands, Mutual Evaluation and Pan Yongfu, the doer, describe the character of the older generation of farmers as the most important spiritual tradition of the younger generation. The overall appearance of Zhao Shuli's novel art has not changed significantly in the 1950s and 1960s. However, as critics have said, these works, which originated from the story books of Song people and later parody books, are "slow in story" and have the feeling of "trivial in circulation" and "unforgettable" because the authors are more and more persistent in some form (note: Sun Li talks about Zhao Shuli, 65438+65439).
Zhao Shuli's "Evaluation History"
There are always different opinions about Zhao Shuli's novels and his literary views, some of which are far apart. Even in the left-wing literary world, the evaluation is not uniform and changes with time. In the 1940s, On Zhao Shuli's Creation, published by Zhou Yang in 1946 (note: Liberation Daily (Yan 'an) on August 26th 1946), gave a high evaluation to Zhao Shuli's novels for the first time. )。 In this article, Zhao Shuli is known as "a mature writer before he became famous, a people's artist with novel and unique style"; Li Youcai's "Banhua" is "a very real and vivid description of the peasant struggle, which can be said to be a masterpiece"; Zhao Shuli's novel is "a victory of Mao Zedong's literary thought in creative practice". As an extension of this evaluation, in August of the following year, at the symposium on literature and art in the Shanxi-Chahar-Hebei border region, the participants "agreed to put forward the direction of Zhao Shuli" and took it as our banner (Note: Chen Huangmei's March on Zhao Shuli, People's Daily, August 1947. )。 At about this time, the publishing house in the "Liberated Area" edited various collections of Zhao Shuli's creative comments (Note: Zhao Shuli's Creative Theory, Lu Yu Publishing House, Hebei Province, first edition in July,1947; On Zhao Shuli's Creation, edited and published by North China Xinhua Bookstore in September,1949,5. ), income Zhou Yang, Mao Dun, Guo Moruo, Shao Quanlin, Lin Mohan, Huangmei, Li Qun, Feng Mu and other articles. In the two large series published around the first congress, Zhao Shuli received quite special treatment. Of course, his works were selected in the series of China People's Literature, which showed the literary achievements of the "liberated areas", but together with Guo Moruo, Mao Dun and Ba Jin, he was regarded as "a writer whose important works were born before 1942", and his album was included in Selected Works of New Literature (edited by Mao Dun). In fact, Zhao's famous work The Marriage of Little Black Boys was published in 1943. This arrangement reflects the urgency of "classicalizing" it. Zhao Shuli, Guo Moruo, Mao Dun, Ba Jin, Lao She and Cao Yu were called "masters of language art" in Zhou Yang's report at the second enlarged meeting of directors of the Chinese Writers Association on 1956.
However, after the 1950s, the literary world hesitated to evaluate Zhao Shuli. While continuing to regard him as a "role model", the "shortcomings" of his novels are constantly being discovered. This discovery is the result of "analysis and research according to the creative principles of socialist realism". Therefore, critics put forward the problem that Zhao Shuli is "good at showing the backward side, but not good at showing the forward side", and hinted that he still lacks the conscious consciousness of shaping a new hero image. (Note: Zhu Keyu's "Comment on Evil without Suppressing Righteousness" (People's Daily 1950, 15) talks about evil without suppressing rightness (People's Daily, February 25). After the publication of the novel "Sanliwan", while being affirmed, it emphatically puts forward the problem of "typicality": the exhibition of "the extremely complicated and sharp struggle between the two routes" in rural areas "has not reached its due depth"; The author "pays little attention to the revolutionary forces of peasants" and "fails to fully and truly express this aspect", while the contradictions between peasants are not very serious and sharp, and the contradictions are easy to solve. (Note: See After Reading Sanliwan (People's Literature No.7, 1955), Zhou Yang's Task of Building Socialist Literature and Bao No.5 and No.6, 1956. ) In the late 1950s, the hesitation and contradiction in this evaluation were highlighted again. From 65438 to 0959, Literary and Art Newspaper organized an "exercise" discussion on the topic of "How to reflect contradictions among the people". Although this short story was published as a negative article "distorting the reality of China's socialist countryside" and "slandering rural working women and social cadres", the editorial department supported Zhao Shuli, and it also took Wang Xiyan's affirmation article that Zhao Shuli "portrayed a living person with personality according to the reality of life" (Note: "Exercise and reflect contradictions among the people", Literature and Art Newspaper 1958. ), as a concluding observation. This defensive discussion in Wenyi Bao can be regarded as a defense against the radical literary trend of thought at that time. But at this time, Zhao Shuli was criticized "internally" for questioning China's rural policy after 1957 in the "anti-right opportunism" movement. During this period, the typical and idealized works of,, Wang, and others have strong orientation in local novels.
By 1962, in the ebb of political and economic romanticism, the proposal of "deepening realism" appeared in the literary world. At this time, Zhao Shuli's "value" was discovered and reinterpreted by the advocates of "deepening realism". At the symposium on rural short story creation held in Dalian, Mao Dun and Shao Quanlin thought that Zhao Shuli's creation was underestimated "a few years ago" and "the evaluation was low, and this time it will be reversed"; "Because what he wrote is protracted and arduous", "This is the victory of realism". These views are elaborated in Kang Zhuo's later articles: "Zhao Shuli should be said to be the most outstanding and solid master of short stories among our older writers in the past twenty years. However, critics have somewhat underestimated his achievements in recent years ... In fact, his works should be said to be the most solid realism in our literature, and his deep life foundation is as solid as iron. " "Zhao Shuli's charm, at least in the rural areas I have contacted, is really second to none, and other contemporary writers are hard to match." (Note: Kang Zhuo's Short Stories in Recent Years, Short Stories in Recent Years), 2002. Because Zhao Shuli is the writer who can best reflect the deepening of realism, Zhao Shuli is bound to bear the brunt of this theory on the eve of the Cultural Revolution. The evaluation of Zhao Shuli in the literary world has changed a lot: "In recent years, Comrade Zhao Shuli's works failed to describe the revolutionary peasants' mental outlook with full revolutionary enthusiasm", and the Dalian Conference "not only failed to correctly point out" his "this shortcoming", but "advocated it as a creative direction that should be advocated" (Note: Writing the Intermediate People in the editorial department of Wen Yi Daily). Since then, the fierce attack on Zhao in the "Cultural Revolution" has not exceeded the scope of this criticism from the perspective of "literary view".
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