蕭軍在延安與「魯迅傳統」的轉變

1942年中共通過延安文藝座談會制定黨的文藝政策，同時標誌著原來左翼文藝「魯迅傳統」的轉變。作為「魯迅學生」的蕭軍，當時正好在延安捲進了這個轉變的漩渦。本文通過蕭軍在延安的有關言行，展示中國左翼文藝原來的「魯迅傳統」與中共新的文藝政策的對立。中國左翼文藝的「魯迅傳統」著重社會文化和「國民性」的批判，而座談會制定的文藝政策則要求文藝為黨的政治服務，因此反對揭露黑暗的雜文，反對作家的獨立性。但在民族危急存亡之秋，這些不可調和的矛盾卻能夠為大多數作家接受。在新舊傳統的交替過程中，魯迅的繼承者只能「轉向」或者面對重重的困擾，蕭軍的經歷就是個典型例子。然而新的「魯迅傳統」似乎受到一定的抵制，並未能大張旗鼓地推行。

關鍵字

延安文藝座談會；蕭軍；魯迅傳統

並列摘要

In 1942, the Chinese Communist Party formulated its policies on literature and arts through the Yan'an Forum of Literature and Arts. These policies marked a change of the original ＂Lu Xun tradition＂ of the left-wing literature and arts. As a ＂student of Lu Xun＂, Xiao Jun was involved in the turbulence of the change. Through Xiao Jun's related words and actions in Yan'an, this paper shows that the original ＂Lu Xun tradition＂ was contradictory to the new literary and artistic policies of the Chinese Communist Party. The ＂Lu Xun tradition＂ of left-wing literature emphasized social-cultural criticism and the criticism of ＂national character＂ and the literary and artistic policies formulated by the Yan'an forum demanded that literature and arts serve the politics of the Party. Therefore, ＂miscellaneous essays＂ exposing darkness of society were to be opposed and writers' independence denied. However, these irreconcilable contradictions were accepted by the majority of writers probably because of the urgency of China's national crisis. During the transition period, Lu Xun's disciples could only ＂change direction＂ or to face numerous frustrations and Xiao Jun's experience was a typical example. However, the new ＂Lu Xun tradition＂ seemed to have encountered certain resistance and could only be promoted without fanfare.