
THE MIDDLE YEARS 1939-1943 691
What had been praiseworthy in Shanghai during the early 1930s,
however,
was
unacceptable in Yenan
a
decade
later.
These intellectuals must
have felt they were taking a risk, but they could hardly have anticipated
the severity of the party's response. All of them were severely criticized
and made to recant, though most were eventually rehabilitated. Wang
Shih-wei, less prominent and more corrosive than most, was repeatedly
attacked in mass meetings, discredited, jailed, and secretly executed in 1947.
If
his
February addresses and other party directives had failed properly
to educate the intellectuals, Mao was ready to go further. He took these
steps in May 1942, in the lengthy 'Talks at the Yenan Forum on art and
literature'. Here he laid down, in explicit detail, the role of intellectuals
under the leadership of the Chinese Communist Party. This statement
remained authoritative throughout Mao's lifetime, and continues after his
death to exert its influence. In
brief,
' Talks' denies the independence and
autonomy of the mind, apart from social class. One can only speak or
write from a class standpoint; intellectuals are quite wrong to think that
there is some objectively neutral ground upon which they can stand. Since
this is so, art is one form of politics and the question then becomes
which
class it will represent. Revolutionary intellectuals must take their stand
with the proletariat for otherwise they serve the bourgeoisie or other
reactionary classes, even when they deny they are doing so. It follows that
the ultimate arbiter and guide for literature and art is the Chinese
Communist Party (led by Mao Tse-tung), since this is the vanguard, the
concentrated will, of the working classes.
Mao thus turned the tables on the intellectuals: no longer independent
critics, they were now the targets of criticism. So long as intellectuals were
willing to play the role of handmaidens to the revolution, as defined by
the CCP, they were needed and welcomed. There was no denying their
creativity and their skills, but these talents were to be valued only within
the limits set by the party. Socialist realism was to be the major mode
of literature and art, given naturalistic Chinese forms that would be at
once accessible to the masses and expressed in their own idiom, not that
of Shanghai salons. This meant that intellectuals had to go among the
peasants and workers, absorb their language and experience the harsh
realities of their lives. Altogether, Mao was calling for the transformation
of party intellectuals and of party members more generally.
By April
1942,
the Central Committee had published a list of twenty-two
documents to serve as the basis of cadre study and examination.
98
The
°
8
Sec Compton, 6-7. The list contained six items by Mao; five Central Committee documents
(probably authored in whole or in pan by
Mao);
one each by Liu Shao-ch'i, Ch'en Yun and K'ang
Sheng; a propaganda guide; an army report; three by Stalin; one by Lenin and Stalin; one by
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