
690 THE CHINESE COMMUNIST MOVEMENT, I937-1945
system. Although
he
spoke of pa-ku most directly
in
terms
of
the way
in which many party members attempted to communicate with the masses
(in literature, propaganda, directives, etc.), he clearly meant this rubric
to cover all manifestations of dogmatic subjectivism and sectarianism:
'if
we oppose subjectivism and sectarianism but
do
not
at
the same time
eradicate party formalism, they still have a place to hide'. Once again using
the language
of
the
lao-pai-hsing,
the ordinary peasant, Mao described
-
perhaps with deliberate irony
-
eight ways
in
which pa-ku formalism
showed
itself.
It
was wordy, windy and disgusting, 'like the lazy old
woman's long, foul-smelling footbindings which should be thrown into
the privy
at
once'.
It
was pretentious, abstract, insipid, cliche-ridden;
worse, it made a false show of authority and aimed to intimidate the reader
or hearer.
It
contained many foreign terms and constructions which had
little meaning for the average person, but seemed very learned.
It
often
lapsed into irresponsibility and pessimism, to the detriment of the people,
the resistance,
and the
revolution.
No one, Mao
asserted, would
understand
or
listen to a party that spoke in pa-ku style, much less want
to follow
it or
join
it.
Writers, intellectuals, former students and educated cadres generally
were obviously the principal object of Mao's attack. They were, of course,
more numerous in the Shen-Kan-Ning base than anywhere else, and many
of them were becoming restive and dissatisfied. Just
a
few weeks after
Mao's speeches before the Party School and the issuance
of a
central
directive on cadre education,
a
number of prominent intellectuals loosed
a barrage in the pages of
Liberation
Daily.
91
Ting Ling, the famous woman
author, criticized the party's compromises
in
the area
of
sexual equality
and the gap between noble ideals and shabby performance more generally.
Others such
as
Ai Ch'ing and Hsiao Chun added their voices. Perhaps
the most biting critique was contained
in
an essay entitled 'Wild lilies',
by an obscure writer, Wang Shih-wei, who employed the satiric
tsa-wen
(informal essay) style made famous by Lu Hsun. Although none of these
critics questioned
the
legitimacy
of the
party
or the
necessity
for
revolution, they felt that art had an existence apart from politics and they
graphically portrayed the dark side of life in Yenan. By implication, they
were asserting
the
autonomy
of the
individual
and the
role
of the
intellectual as social critic, just as they had
—
with party blessing
—
before
the war in Kuomintang-controlled areas of China.
" Merle Goldman,
LJterary dissent in Communist
China,
2 iff. At this time the chief editor of
Liberation
Daily was Ch'in Pang-hsien (Po Ku), and one of his associates was Chang Wen-t'ien. Both had
belonged to Wang Ming's faction in the early 1930s, though they had later moved much closer
than he to the Maoist camp. Yet without their approval, the dissidents could not possibly have
had their writings published in
Liberation
Daily.
Ting Ling was the paper's cultural affairs editor.
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