TALKS AT THE YENAN FORUM
ON LITERATURE AND ART

    Comrades! You have been invited to this forum today to exchange ideas and examine the relationship between work in the literary and artistic fields and revolutionary work in general. Our aim is to ensure that revolutionary literature and art follow the correct path of development and provide better help to other revolutionary work in facilitating the overthrow of our national enemy and the accomplishment of the task of national liberation.

    In our struggle for the liberation of the Chinese people there are various fronts, among which there are the fronts of the pen and of the gun, the cultural and the military fronts. To defeat the enemy we must rely primarily on the army with guns. But this army alone is not enough; we must also have a cultural army, which is absolutely indispensable for uniting our own ranks and defeating the enemy. Since the May 4th Movement such a cultural army has taken shape in China, and it has helped the Chinese revolution, gradually reduced the domain of China's feudal culture and of the comprador culture which serves imperialist aggression, and weakened their influence. To oppose the new culture the Chinese reactionaries can now only "pit quantity against quality". In other words, reactionaries have money, and though they can produce nothing good, they can go all out and produce in quantity. Literature and art have been an important and successful part of the cultural front since the May 4th Movement. During the ten years' civil war, the revolutionary literature and art movement grew greatly. That movement and the revolutionary war both headed in the same general direction, but

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these two fraternal armies were not linked together in their practical work because the reactionaries had cut them off from each other. It is very good that since the outbreak of the War of Resistance Against Japan, more and more revolutionary writers and artists have been coming to Yenan and our other anti-Japanese base areas. But it does not necessarily follow that, having come to the base areas, they have already integrated themselves completely with the masses of the people here. The two must be completely integrated if we are to push ahead with our revolutionary work. The purpose of our meeting today is precisely to ensure that literature and art fit well into the whole revolutionary machine as a component part, that they operate as powerful weapons for uniting and educating the people and for attacking and destroying the enemy, and that they help the people fight the enemy with one heart and one mind. What are the problems that must be solved to achieve this objective? I think they are the problems of the class stand of the writers and artists, their attitude, their audience, their work and their study.

    The problem of class stand. Our stand is that of the proletariat and of the masses. For members of the Communist Party, this means keeping to the stand of the Party, keeping to Party spirit and Party policy. Are there any of our literary and art workers who are still mistaken or not clear in their understanding of this problem? I think there are. Many of our comrades have frequently departed from the correct stand.

    The problem of attitude. From one's stand there follow specific attitudes towards specific matters. For instance, is one to extol or to expose? This is a question of attitude. Which attitude is wanted? I would say both. The question is, whom are you dealing with? There are three kinds of persons, the enemy, our allies in the united front and our own people; the last are the masses and their vanguard. We need to adopt a different attitude towards each of the three. With regard to the enemy, that is, Japanese imperialism and all the other enemies of the people, the task of revolutionary writers and artists is to expose their duplicity and cruelty and at the same time to point out the inevitability of their defeat, so as to encourage the anti-Japanese army and people to fight staunchly with one heart and one mind for their overthrow. With regard to our different allies in the united front, our attitude should be one of both alliance and criticism, and there should be different kinds of alliance and different kinds of criticism. We support them in their resistance to Japan and praise

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them for any achievement. But if the are not active in the War of Resistance, we should criticize them. If anyone opposes the Communist Party and the people and keeps moving down the path of reaction, we will firmly oppose him. As for the masses of the people, their toil and their struggle, their army and their Party, we should certainly praise them. The people, too, have their shortcomings. Among the proletariat many retain petty-bourgeois ideas, while both the peasants and the urban petty bourgeoisie have backward ideas; these are burdens hampering them in their struggle. We should be patient and spend a long time in educating them and helping them to get these loads off their backs and combat their own shortcomings and errors, so that they can advance with great strides. They have remoulded themselves in struggle or are doing so, and our literature and art should depict this process. As long as they do not persist in their errors, we should not dwell on their negative side and consequently make the mistake of ridiculing them or, worse still, of being hostile to them. Our writings should help them to unite, to make progress, to press ahead with one heart and one mind, to discard what is backward and develop what is revolutionary, and should certainly not do the opposite.

    The problem of audience, i.e., the people for whom our works of literature and art are produced. In the Shensi-Kansu-Ningsia Border Region and the anti-Japanese base areas of northern and central China, this problem differs from that in the Kuomintang areas, and differs still more from that in Shanghai before the War of Resistance. In the Shanghai period, the audience for works of revolutionary literature and art consisted mainly of a section of the students, office workers and shop assistants. After the outbreak of the War of Resistance the audience in the Kuomintang areas became somewhat wider, but it still consisted mainly of the same kind of people because the government there prevented the workers, peasants and soldiers from having access to revolutionary literature and art. In our base areas the situation is entirely different. Here the audience for works of literature and art consists of workers, peasants, soldiers and revolutionary cadres. There are students in the base areas, too, but they are different from students of the old type; they are either former or future cadres. The cadres of all types, fighters in the army, workers in the factories and peasants in the villages all want to read books and newspapers once they become literate, and those who are illiterate want to see plays and operas, look at drawings and paintings, sing

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songs and hear music; they are the audience for our works of literature and art. Take the cadres alone. Do not think they are few; they far outnumber the readers of any book published in the Kuomintang areas. There, an edition usually runs to only 2,000 copies, and even three editions add up to only 6,000; but as for the cadres in the base areas, in Yenan alone there are more than 10,000 who read books. Many of them, moreover, are tempered revolutionaries of long standing, who have come from all parts of the country and will go out to work in different places, so it is very important to do educational work among them. Our literary and art workers must do a good job in this respect.

    Since the audience for our literature and art consists of workers, peasants and soldiers and of their cadres, the problem arises of understanding them and knowing them well. A great deal of work has to be done in order to understand them and know them well, to understand and know well all the different kinds of people and phenomena in the Party and government organizations, in the villages and factories and in the Eighth Route and New Fourth Armies. Our writers and artists have their literary and art work to do, but their primary task is to understand people and know them well. In this regard, how have matters stood with our writers and artists? I would say they have been lacking in knowledge and understanding; they have been like "a hero with no place to display his prowess". What does lacking in knowledge mean? Not knowing people well. The writers and artists do not have a good knowledge either of those whom they describe or of their audience; indeed they may hardly know them at all. They do not know the workers or peasants or soldiers well, and do not know the cadres well either. What does lacking in understanding mean? Not understanding the language, that is, not being familiar with the rich, lively language of the masses. Since many writers and artists stand aloof from the masses and lead empty lives, naturally they are unfamilial with the language of the people. Accordingly, their works are not only insipid in language but often contain nondescript expressions of their own coining which run counter to popular usage. Many comrades like to talk about "a mass style". But what does it really mean? It means that the thoughts and feelings of our writers and artists should be fused with those of the masses of workers, peasants and soldiers. To achieve this fusion, they should conscientiously learn the language of the masses. How can you talk of literary and artistic creation if you find the very language

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of the masses largely incomprehensible? By "a hero with no place to display his prowess", we mean that your collection of great truths is not appreciated by the masses. The more you put on the airs of a veteran before the masses and play the "hero", the more you try to peddle such stuff to the masses, the less likely they are to accept it. If you want the masses to understand you, if you want to be one with the masses, you must make up your mind to undergo a long and even painful process of tempering. Here I might mention the experience of how my own feelings changed. I began life as a student and at school acquired the ways of a student; I then used to feel it undignified to do even a little manual labour, such as carrying my own luggage in the presence of my fellow students, who were incapable of carrying anything, either on their shoulders or in their hands. At that time I felt that intellectuals were the only clean people in the world, while in comparison workers and peasants were dirty. I did not mind wearing the clothes of other intellectuals, believing them clean, but I would not put on clothes belonging to a worker or peasant, believing them dirty. But after I became a revolutionary and lived with workers and peasants and with soldiers of the revolutionary army, I gradually came to know them well, and they gradually came to know me well too. It was then, and only then, that I fundamentally changed the bourgeois and petty-bourgeois feelings implanted in me in the bourgeois schools. I came to feel that compared with the workers and peasants the unremoulded intellectuals were not clean and that, in the last analysis, the workers and peasants were the cleanest people and, even though their hands were soiled and their feet smeared with cow-dung, they were really cleaner than the bourgeois and petty-bourgeois intellectuals. That is what is meant by a change in feelings, a change from one class to another. If our writers and artists who come from the intelligentsia want their works to be well received by the masses, they must change and remould their thinking and their feelings. Without such a change, without such remoulding, they can do nothing well and will be misfits.

    The last problem is study, by which I mean the study of Marxism-Leninism and of society. Anyone who considers himself a revolutionary Marxist writer, and especially any writer who is a member of the Communist Party, must have a knowledge of Marxism-Leninism. At present, however, some comrades are lacking in the basic concepts of Marxism. For instance, it is a basic Marxist concept that being determines consciousness, that the objective realities of class struggle

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and national struggle determine our thoughts and feelings. But some of our comrades turn this upside down and maintain that everything ought to start from "love". Now as for love, in a class society there can be only class love; but these comrades are seeking a love transcending classes, love in the abstract and also freedom in the abstract, truth in the abstract, human nature in the abstract, etc. This shows that they have been very deeply influenced by the bourgeoisie. They should thoroughly rid themselves of this influence and modestly study Marxism-Leninism. It is right for writers and artists to study literary and artistic creation, but the science of Marxism-Leninism must be studied by all revolutionaries, writers and artists not excepted. Writers and artists should study society, that is to say, should study the various classes in society, their mutual relations and respective conditions, their physiognomy and their psychology. Only when we grasp all this clearly can we have a literature and art that is rich in content and correct in orientation.

    I am merely raising these problems today by way of introduction; I hope all of you will express your views on these and other relevant problems.

    Comrades! Our forum has had three meetings this month. In the pursuit of truth we have carried on spirited debates in which scores of Party and non-Party comrades have spoken, laying bare the issues and making them more concrete. This, I believe, will very much benefit the whole literary and artistic movement.

    In discussing a problem, we should start from reality and not from definitions. We would be following a wrong method if we first looked up definitions of literature and art in textbooks and then used them to determine the guiding principles for the present-day literary and artistic movement and to judge the different opinions and con troversies that arise today. We are Marxists, and Marxism teaches that in our approach to a problem we should start from objective facts, not from abstract definitions, and that we should derive our guiding principles, policies and measures from an analysis of these facts. We should do the same in our present discussion of literary and artistic work.

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What are the facts at present? The facts are: the War of Resistance Against Japan which China has been fighting for five years; the world-wide anti-fascist war; the vacillations of China's big landlord class and big bourgeoisie in the War of Resistance and their policy of high-handed oppression of the people; the revolutionary movement in literature and art since the May 4th Movement -- its great contributions to the revolution during the last twenty-three years and its many shortcomings; the anti-Japanese democratic base areas of the Eighth Route and New Fourth Armies and the integration of large numbers of writers and artists with these armies and with the workers and peasants in these areas; the difference in both environment and tasks between the writers and artists in the base areas and those in the Kuomintang areas; and the controversial issues concerning literature and art which have arisen in Yenan and the other anti-Japanese base areas. These are the actual, undeniable facts in the light of which we have to consider our problems.

    What then is the crux of the matter? In my opinion, it consists fundamentally of the problems of working for the masses and how to work for the masses. Unless these two problems are solved, or solved properly, our writers and artists will be ill-adapted to their environment and their tasks and will come up against a series of difficulties from without and within. My concluding remarks will centre on these two problems and also touch upon some related ones.

    The first problem is: literature and art for whom?

    Having settled the problem of whom to serve, we come to the next problem, how to serve. To put it in the words of some of our comrades: should we devote ourselves to raising standards, or should we devote ourselves to popularization?

    In the past, some comrades, to a certain or even a serious extent, belittled and neglected popularization and laid undue stress on raising standards. Stress should be laid on raising standards, but to do so one-sidedly and exclusively, to do so excessively, is a mistake. The lack of a clear solution to the problem of "for whom?", which I referred to earlier, also manifests itself in this connection. As these comrades are not clear on the problem of "for whom?", they have no correct criteria for the "raising of standards" and the "populari zation" they speak of, and are naturally still less able to find the correct relationship between the two. Since our literature and art are basically for the workers, peasants and soldiers, "popularization" means to popularize among the workers, peasants and soldiers, and "raising standards" means to advance from their present level. What should we popularize among them? Popularize what is needed and can be readily accepted by the feudal landlord class? Popularize what is needed and can be readily accepted by the bourgeoisie? Popularize what is needed and can be readily accepted by the petty-bourgeois intellectuals? No, none of these will do. We must popularize only what is needed and can be readily accepted by the workers, peasants and soldiers themselves. Consequently, prior to the task of educating the workers, peasants and soldiers, there is the task of learning from them. This is even more true of raising standards. There must be a basis from which to raise. Take a bucket of water, for instance; where is it to be raised from if not from the ground? From mid-air? From what basis, then, are literature and art to be raised? From the basis of the feudal classes? From the basis of the bourgeoisie? From the basis of the petty-bourgeois intellectuals? No, not from any of these; only from the basis of the masses of workers, peasants and soldiers. Nor does this mean raising the workers, peasants and soldiers to the "heights" of the feudal classes, the bourgeoisie or the petty-bourgeois intellectuals; it means raising the level of literature and art in the direction in which the workers, peasants and soldiers are themselves advancing, in the direction in which the proletariat is advancing. Here again the task of learning from the workers, peasants and

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soldiers comes in. Only by starting from the workers, peasants and soldiers can we have a correct understanding of popularization and of the raising of standards and find the proper relationship between the two.

    In the last analysis, what is the source of all literature and art? Works of literature and art, as ideological forms, are products of the reflection in the human brain of the life of a given society. Revolutionary literature and art are the products of the reflection of the life of the people in the brains of revolutionary writers and artists. The life of the people is always a mine of the raw materials for literature and art, materials in their natural form, materials that are crude, but most vital, rich and fundamental; they make all literature and art seem pallid by comparison; they provide literature and art with an inexhaustible source, their only source. They are the only source, for there can be no other. Some may ask, is there not another source in books, in the literature and art of ancient times and of foreign countries? In fact, the literary and artistic works of the past are not a source but a stream; they were created by our predecessors and the foreigners out of the literary and artistic raw materials they found in the life of the people of their time and place. We must take over all the fine things in our literary and artistic heritage, critically assimilate whatever is beneficial, and use them as examples when we create works out of the literary and artistic raw materials in the life of the people of our own time and place. It makes a difference whether or not we have such examples, the difference between crudeness and refinement, between roughness and polish, between a low and a high level, and between slower and faster work. Therefore, we must on no account reject the legacies of the ancients and the foreigners or refuse to learn from them, even though they are the works of the feudal or bourgeois classes. But taking over legacies and using them as examples must never replace our own creative work; nothing can do that. Uncritical transplantation or copying from the ancients and the foreigners is the most sterile and harmful dogmatism in literature and art. China's revolutionary writers and artists, writers and artists of promise, must go among the masses; they must for a long period of time unreservedly and whole-heartedly go among the masses of workers, peasants and soldiers, go into the heat of the struggle, go to the only source, the broadest and richest source, in order to observe, experience, study and analyse all the different kinds of people, all the classes, all the masses, all the vivid

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    Since our literature and art are for the masses of the people, we can proceed to discuss a problem of inner-Party relations, i.e., the relation between the Party's work in literature and art and the Party's work as a whole, and in addition a problem of the Party's external relations, i.e., the relation between the Party's work in literature and art and the work of non-Party people in this held, a problem of the united front in literary and art circles.

    Literary and art criticism is one of the principal methods of struggle in the world of literature and art. It should be developed and, as comrades have rightly pointed out, our past work in this respect has been quite inadequate. Literary and art criticism is a complex question which requires a great deal of special study. Here I shall concentrate only on the basic problem of criteria in criticism. I shall also comment briefly on a few specific problems raised by some comrades and on certain incorrect views.

    In literary and art criticism there are two criteria, the political and the artistic. According to the political criterion, everything is good that is helpful to unity and resistance to Japan, that encourages the masses to be of one heart and one mind, that opposes retrogression and promotes progress; on the other hand, everything is bad that is detrimental to unity and resistance to Japan, foments dissension and discord among the masses and opposes progress and drags people back. How can we tell the good from the bad�by the motive (the subjective intention) or by the effect (social practice)? Idealists stress motive and ignore effect, while mechanical materialists stress effect and ignore motive. In contradistinction to both, we dialectical materialists insist on the unity of motive and effect. The motive of serving the masses is inseparably linked with the effect of winning their approval; the two must be united. The motive of serving the individual or a small clique is not good, nor is it good to have the motive of serving the masses without the effect of winning their approval and benefiting them. In examining the subjective intention of a writer or artist, that is, whether his motive is correct and good, we do not judge by his declarations but by the effect of his actions (mainly his works) on the masses in society. The criterion for judging subjective intention or motive is social practice and its effect. We

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want no sectarianism in our literary and art criticism and, subject to the general principle of unity for resistance to Japan, we should tolerate literary and art works with a variety of political attitudes. But at the same time, in our criticism we must adhere firmly to principle and severely criticize and repudiate all works of literature and art expressing views in opposition to the nation, to science, to the masses and to the Communist Party, because these so-called works of literature and art proceed from the motive and produce the effect of undermining unity for resistance to Japan. According to the artistic criterion, all works of a higher artistic quality are good or comparatively good, while those of a lower artistic quality are bad or comparatively bad. Here, too, of course, social effect must be taken into account. There is hardly a writer or artist who does not consider his own work beautiful, and our criticism ought to permit the free competition of all varieties of works of art; but it is also entirely necessary to subject these works to correct criticism according to the criteria of the science of aesthetics, so that art of a lower level can be gradually raised to a higher and art which does not meet the demands of the struggle of the broad masses can be transformed into art that does.

    There is the political criterion and there is the artistic criterion; what is the relationship between the two? Politics cannot be equated with art, nor can a general world outlook be equated with a method of artistic creation and criticism. We deny not only that there is an abstract and absolutely unchangeable political criterion, but also that there is an abstract and absolutely unchangeable artistic criterion; each class in every class society has its own political and artistic criteria. But all classes in all class societies invariably put the political criterion first and the artistic criterion second. The bourgeoisie always shuts out proletarian literature and art, however great their artistic merit. The proletariat must similarly distinguish among the literary and art works of past ages and determine its attitude towards them only after examining their attitude to the people and whether or not they had any progressive significance historically. Some works which politically are downright reactionary may have a certain artistic quality. The more reactionary their content and the higher their artistic quality, the more poisonous they are to the people, and the more necessary it is to reject them. A common characteristic of the literature and art of all exploiting classes in their period of decline is the contradiction between their reactionary political content and their

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artistic form. What we demand is the unity of politics and art, the unity of content and form, the unity of revolutionary political content and the highest possible perfection of artistic form. Works of art which lack artistic quality have no force, however progressive they are politically. Therefore, we oppose both the tendency to produce works of art with a wrong political viewpoint and the tendency towards the "poster and slogan style" which is correct in political viewpoint but lacking in artistic power. On questions of literature and art we must carry on a struggle on two fronts.

    Both these tendencies can be found in the thinking of many comrades. A good number of comrades tend to neglect artistic technique; it is therefore necessary to give attention to the raising of artistic standards. But as I see it, the political side is more of a problem at present. Some comrades lack elementary political knowledge and consequently have all sorts of muddled ideas. Let me cite a few examples from Yenan.

    "The theory of human nature." Is there such a thing as human nature? Of course there is. But there is only human nature in the concrete, no human nature in the abstract. In class society there is only human nature of a class character; there is no human nature above classes. We uphold the human nature of the proletariat and of the masses of the people, while the landlord and bourgeois classes uphold the human nature of their own classes, only they do not say so but make it out to be the only human nature in existence. The human nature boosted by certain petty-bourgeois intellectuals is also divorced from or opposed to the masses; what the call human nature is in essence nothing but bourgeois individualism, and so, in their eyes, proletarian human nature is contrary to human nature. "The theory of human nature" which some people in Yenan advocate as the basis of their so-called theory of literature and art puts the matter in just this way and is wholly wrong.

    "The fundamental point of departure for literature and art is love, love of humanity." Now love may serve as a point of departure, but there is a more basic one. Love as an idea is a product of objective practice. Fundamentally, we do not start from ideas but from objective practice. Our writers and artists who come from the ranks of the intellectuals love the proletariat because society has made them feel that they and the proletariat share a common fate. We hate Japanese imperialism because Japanese imperialism oppresses us. There is absolutely no such thing in the world as love or hatred with-

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out reason or cause. As for the so-called love of humanity, there has been no such all-inclusive love since humanity was divided into classes. All the ruling classes of the past were fond of advocating it, and so were many so-called sages and wise men, but nobody has ever really practised it, because it is impossible in class society. There will be genuine love of humanity -- after classes are eliminated all over the world. Classes have split society into many antagonistic groupings; there will be love of all humanity when classes are eliminated, but not now. We cannot love enemies, we cannot love social evils, our aim is to destroy them. This is common sense; can it be that some of our writers and artists still do not understand this?

    "Literary and artistic works have always laid equal stress on the bright and the dark, half and half." This statement contains many muddled ideas. It is not true that literature and art have always done this. Many petty-bourgeois writers have never discovered the bright side. Their works only expose the dark and are known as the "literature of exposure". Some of their works simply specialize in preaching pessimism and world-weariness. On the other hand, Soviet literature in the period of socialist construction portrays mainly the bright. It, too, describes shortcomings in work and portrays negative characters, but this only serves as a contrast to bring out the brightness of the whole picture and is not on a so-called half-and-half basis. The writers and artists of the bourgeoisie in its period of reaction depict the revolutionary masses as mobs and themselves as saints, thus reversing the bright and the dark. Only truly revolutionary writers and artists can correctly solve the problem of whether to extol or to expose. All the dark forces harming the masses of the people must be exposed and all the revolutionary struggles of the masses of the people must be extolled; this is the fundamental task of revolutionary writers and artists.

    "The task of literature and art has always been to expose." This assertion, like the previous one, arises from ignorance of the science of history. Literature and art, as we have shown, have never been devoted solely to exposure. For revolutionary writers and artists the targets for exposure can never be the masses, but only the aggressors, exploiters and oppressors and the evil influence the have on the people. The masses too have shortcomings, which should be overcome by criticism and self-criticism within the people's own ranks, and such criticism and self-criticism is also one of the most important tasks of literature and art. But this should not be regarded as any

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sort of "exposure of the people". As for the people, the question is basically one of education and of raising their level. Only counter-revolutionary writers and artists describe the people as "born fools" and the revolutionary masses as "tyrannical mobs".

    "This is still the period of the satirical essay, and Lu Hsun's style of writing is still needed." Living under the rule of the dark forces and deprived of freedom of speech, Lu Hsun used burning satire and freezing irony, cast in the form of essays, to do battle; and he was entirely right. We, too, must hold up to sharp ridicule the fascists, the Chinese reactionaries and everything that harms the people; but in the Shensi-Kansu-Ningsia Border Region and the anti-Japanese base areas behind the enemy lines, where democracy and freedom are granted in full to the revolutionary writers and artists and withheld only from the counter-revolutionaries, the style of the essay should not simply be like Lu Hsun's. Here we can shout at the top of our voices and have no need for veiled and roundabout expressions, which are hard for the people to understand. When dealing with the people and not with their enemies, Lu Hsun never ridiculed or attacked the revolutionary people and the revolutionary Party in his "satirical essay period", and these essays were entirely different in manner from those directed against the enemy. To criticize the people's shortcomings is necessary, as we have already said, but in doing so we must truly take the stand of the people and speak out of whole-hearted eagerness to protect and educate them. To treat comrades like enemies is to go over to the stand of the enemy. Are we then to abolish satire? No. Satire is always necessary. But there are several kinds of satire, each with a different attitude, satire to deal with our enemies, satire to deal with our allies and satire to deal with our own ranks. We are not opposed to satire in general; what we must abolish is the abuse of satire.

    "I am not given to praise and eulogy. The works of people who eulogize what is bright are not necessarily great and the works of those who depict the dark are not necessarily paltry." If you are a bourgeois writer or artist, you will eulogize not the proletariat but the bourgeoisie, and if you are a proletarian writer or artist, you will eulogize not the bourgeoisie but the proletariat and working people: it must be one or the other. The works of the eulogists of the bourgeoisie are not necessarily great, nor are the works of those who show that the bourgeoisie is dark necessarily paltry; the works of the eulogists of the proletariat are not necessarily not great, but the works

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of those who depict the so-called "darkness" of the proletariat are bound to be paltry -- are these not facts of history as regards literature and art? Why should we not eulogize the people, the creators of the history of mankind? Why should we not eulogize the proletariat, the Communist Party, New Democracy and socialism? There is a type of person who has no enthusiasm for the people's cause and looks coldly from the side-lines at the struggles and victories of the proletariat and its vanguard; what he is interested in, and will never weary of eulogizing, is himself, plus perhaps a few figures in his small coterie. Of course, such petty-bourgeois individualists are unwilling to eulogize the deeds and virtues of the revolutionary people or heighten their courage in struggle and their confidence in victory. Persons of this type are merely termites in the revolutionary ranks; of course, the revolutionary people have no need for these "singers".

    "It is not a question of stand; my class stand is correct, my intentions are good and I understand all right, but I am not good at expressing myself and so the effect turns out bad." I have already spoken about the dialectical materialist view of motive and effect. Now I want to ask, is not the question of effect one of stand? A person who acts solely by motive and does not inquire what effect his action will have is like a doctor who merely writes prescriptions but does not care how many patients die of them. Or take a political party which merely makes declarations but does not care whether they are carried out. It may well be asked, is this a correct stand? And is the intention here good? Of course, mistakes may occur even though the effect has been taken into account beforehand, but is the intention good when one continues in the same old rut after facts have proved that the effect is bad? In judging a party or a doctor, we must look at practice, at the effect. The same applies in judging a writer. A person with truly good intentions must take the effect into account, sum up experience and study the methods or, in creative work, study the technique of expression. A person with truly good intentions must criticize the shortcomings and mistakes in his own work with the utmost candour and resolve to correct them. This is precisely why Communists employ the method of self-criticism. This alone is the correct stand. Only in this process of serious and responsible practice is it possible gradually to understand what the correct stand is and gradually obtain a good grasp of it. If one does not move in this direction in practice, if there is simply the complacent assertion that one "understands all right", then in fact one has not understood at all.

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    "To call on us to study Marxism is to repeat the mistake of the dialectical materialist creative method, which will harm the creative mood." To study Marxism means to apply the dialectical materialist and historical materialist viewpoint in our observation of the world, of society and of literature and art; it does not mean writing philosophical lectures into our works of literature and art. Marxism embraces but cannot replace realism in literary and artistic creation, just as it embraces but cannot replace the atomic and electronic theories in physics. Empty, dry dogmatic formulas do indeed destroy the creative mood; not only that, they first destroy Marxism. Dogmatic "Marxism" is not Marxism, it is anti-Marxism. Then does not Marxism destroy the creative mood? Yes, it does. It definitely destroys creative moods that are feudal, bourgeois, petty-bourgeois, liberalistic, individualist, nihilist, art-for-art's sake, aristocratic, decadent or pessimistic, and every other creative mood that is alien to the masses of the people and to the proletariat. So far as proletarian writers and artists are concerned, should not these kinds of creative moods be destroyed? I think they should; they should be utterly destroyed. And while they are being destroyed, something new can be constructed.

    The problems discussed here exist in our literary and art circles in Yenan. What does that show? It shows that wrong styles of work still exist to a serious extent in our literary and art circles and that there are still many defects among our comrades, such as idealism, dogrnatism, empty illusions, empty talk, contempt for practice and aloofness from the masses, all of which call for an effective and serious campaign of rectification.

    We have many comrades who are still not very clear on the difference between the proletariat and the petty bourgeoisie. There are many Party members who have joined the Communist Party organizationally but have not yet joined the Party wholly or at all ideologically. Those who have not joined the Party ideologically still carry a great deal of the muck of the exploiting classes in their heads, and have no idea at all of what proletarian ideology, or communism, or the Party is. "Proletarian ideology?" they think. "The same old stuffl" Little do they know that it is no easy matter to acquire this stuff. Some will never have the slightest Communist flavour about them as long as they live and can only end up by leaving the Party.

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Therefore, though the majority in our Party and in our ranks are clean and honest, we must in all seriousness put things in order both ideologically and organizationally if we are to develop the revolutionary movement more effectively and bring it to speedier success. To put things in order organizationally requires our first doing so ideologically, our launching a struggle of proletarian ideology against non-proletarian ideology. An ideological struggle is already under way in literary and art circles in Yenan, and it is most necessary. Intellectuals of petty-bourgeois origin always stubbornly try in all sorts of ways, including literary and artistic ways, to project themselves and spread their views, and they want the Party and the world to be remoulded in their own image. In the circumstances it is our duty to jolt these "comrades" and tell them sharply, "That won't work! The proletariat cannot accommodate itself to you; to yield to you would actually be to yield to the big landlord class and the big bourgeoisie and to run the risk of undermining our Party and our country." Whom then must we yield to? We can mould the Party and the world only in the image of the proletarian vanguard. We hope our comrades in literary and art circles will realize the seriousness of this great debate and join actively in this struggle, so that every comrade may become sound and our entire ranks may become truly united and consolidated ideologically and organizationally.

    Because of confusion in their thinking, many of our comrades are not quite able to draw a real distinction between our revolutionary base areas and the Kuomintang areas and they make many mistakes as a consequence. A good number of comrades have come here from the garrets of Shanghai, and in coming from those garrets to the revolutionary base areas, they have passed not only from one kind of place to another but from one historical epoch to another. One society is semi-feudal, semi-colonial, under the rule of the big landlords and big bourgeoisie, the other is a revolutionary new-democratic society under the leadership of the proletariat. To come to the revolutionary bases means to enter an epoch unprecedented in the thousands of years of Chinese history, an epoch in which the masses of the people wield state power. Here the people around us and the audience for our propaganda are totally different. The past epoch is gone, never to return. Therefore, we must integrate ourselves with the new masses without any hesitation. If, living among the new masses, some comrades, as I said before, are still "lacking in knowledge and understanding" and remain "heroes with no place

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