Red flowers must have green leaves, and the revolution wants love. Men and women, me and you, have always been the eternal theme of literary creation. In the writings of left-wing writers in the 1930s, revolutionaries who were born into death were often accompanied by a red face, and "revolution + love" has become a program for left-wing literary creation.
Looking back at history, Wenjun dangdang, red breeze night running, although there is reality, there is imagination, but it is not this kind of revolution and love creation of indiscriminate coveting. Li Jiefei said in "Wild Crying" that the late Ming Dynasty scholar and the singer and prostitute were both paired up and whispered: Revolution and love are mutually explicit.
After the founding of the People's Republic of China, the national situation was determined, and in order to prevent the will of the revolutionaries from being worn away, the "revolution + love" began to be "overcorrected", and rules and regulations began to appear in literary and artistic creation. The eyes of the ideology master can no longer tolerate the so-called wind and snow, resulting in the fact that even normal love in the work is difficult to express. During the Cultural Revolution, it was even more intense, and the works were often men with bare sticks, women with singles, and families completely retreating behind the scenes, becoming the background or invisible props of revolution and work. If the works express love, even if they just play the edge ball, they can only be used to sacrifice the flag, such as "Between Our Husband and Wife", "Li Shuangshuang", "The Story of LiuBao", etc., thousands of works have been beaten into the cold palace or criticized. This went on for thirty years, making writers tremble like walking on thin ice.
But for the real "revolutionary literature" (or obedience literature), everyone's focus is also diverse, just like Lu Xun's evaluation of "Dream of the Red Chamber", some people see obscenity, some people see the full line, and some people see the secret affairs of the palace. In the clean "revolutionary narrative", in the shadow of the sword and the shadow of the sword, in the roar of the gun, we can also see or glimpse the love between men and women at any time. Dachun and Xi'er in "The White-Haired Girl", Hong Changqing and Qionghua in "The Red Detachment of Women", Shao Jianbo and Xiaobai Pigeon in "Lin Hai Xueyuan", the male protagonists and female guerrilla leaders in some revolutionary war films, this relationship is either love, some are hazy feelings, and most of the heroes and heroines are comrades and class feelings that are not stained with the slightest dust, but they have become the object of everyone's suspense without exception, and they are tireless. Many of the works created and reprinted at that time had erotic marks. In "The Tempest", it is written that the charm of Han Aizhen, the daughter of the landlord Han Laoliu, and her fleshy hands are almost pornographic; in "Bitter Cauliflower", Juanzi rebels against Gong Shaoni's rape, and in "The Legend of the Hero of Lüliang", the plot of the landlord's daughter-in-law seducing the young man and the old landlord and the daughter-in-law climbing ashes is a taste of sexual enlightenment for ignorant teenagers. I admit that when I was a teenager, I read "The Golden Light Avenue", picked the chapters of Cai Feng, and thought that she was the most beautiful woman; Wang Fang in the movie "Heroes and Children", she did not have any shadow of male and female love, but I was obsessed with her image and had a crush. In the red ocean of that year, the name of "Little White Pigeon" triggered the joint imagination of tens of millions of people, and the image of "Little White Pigeon" was shaped according to the image of the author Qu Bo's "lover comrade" Liu Bo. There is a little red in the evergreen bush, which is why the image of the "little white pigeon" is so deeply rooted in people's hearts.
The association between pure and thorough revolution and love is actually the inevitable result of the relaxation and liberation of human repression. Men and women who eat and drink, the great desire of man. Once the work is published, the interpretation is not something that the author can grasp, and Qing Tanxian said in the "Preface to the Dictionary of the Futang": "The author's intention is not inevitable, and the reader's intention may not be." In a "serious" work, when it encounters a hungry and thirsty soul, the characters can be "deconstructed". The revolutionary is not a god who does not eat fireworks in the world, and even if you force him to be the object of worship, people can pull him off the altar.
