Stop-an
Late Xia Yan
Xia Yan's love for Zhang Ailing's talent has often been mentioned by commentators, but there are still points to be clarified. First, let's see how Xia Yan himself said this. In May 1988, Xia Yan and Li Ziyun's "Literary and Art Talks" in the "Writers' Dialogue" column of the fifth issue of "People's Literature" said: "I know Zhang Ailing and read her works, and It was Tang Dalang who introduced me to me. Tang Dalang is also a famous 'Jiangnan talent', so it can also be said that admiring Zhang Ailing's works and hoping that she can stay on the mainland is first, aicai, and second, because Comrade Enlai has always taught us the policy of 'uniting all people who can be united'. However, it is not clear when he began to "know Zhang Ailing and read her works."
Let's take a look at the memories of other people involved. Ke Ling's "Remote Sending Zhang Ailing" (published in the fourth issue of "Reading" in April 1985) Yun: "There is also no shortage of readers of Zhang Ailing in the left camp, and Xia Yan of the 'Elder Faction' of the Left League is one. After the end of the War of Resistance Against Japanese Aggression, Xia Yan returned to Shanghai from Chongqing, and he heard that There was a Zhang Ailing during the Fall and that he had read her works; after liberation, he happened to be the number one leading figure in Shanghai's literary and art circles. This is the ins and outs of Zhang Ailing's appearance at the WenDai meeting. Xia Yan never hides that he loves talent, but with the 'left' vision, it is also 'right leaning' and 'warm-hearted'. The Shanghai Film Script Writing Institute was established, and Xia Yan personally served as the director, and I was appointed as his deputy. He told me that he wanted to invite Zhang Ailing to be a screenwriter, but there were still people who objected, so he had to stay for a while. I didn't have time to reveal the news to Zhang Ailing, and I heard that she had gone to Hong Kong. Xia Yan was full of regret, but did not say a word. Later, Xia Yan was transferred to the Ministry of Culture as a vice minister, and I also bought "Legends" and "Rumors" in the library of the Shanghai Bookstore and sent them to Beijing to give them to him. ”
Wei Shaochang's "Comrade Xia Yan's Two or Three Affairs" (published in the first issue of "New Literary Historical Materials" in February 1996) Yun: "The tabloids that regenerated at the beginning of liberation have swept away the black smoke miasma of the past and have a new look. In particular, it has attracted some famous new writers, such as Feng Zikai, Zhou Zuoren, Zhang Ailing, etc. to publish their works. For example, Zhou Zuoren's later books "Lu Xun's Former Home" and "Characters in Lu Xun's Novels", Zhang Ailing's last novel in Shanghai, "Eighteen Springs" and novella "Xiao Ai", were first serialized in Yi Bao. Xia Yan's daily goal for the two tabloids was over. When Zhang Ailing published her works in Shanghai in the 1940s, Xia Yanyuan was far away in the mainland and did not see it, but now he has read the serial novels in the newspaper, and he has supplemented the revised version of Zhang Ailing's novel collection "Legend" published by Shanhe Book Company, and he appreciates Zhang Ailing's talent. In July 1951, the first session of the Wen Dynasty was held in Shanghai, and Xia Yan nominated Zhang Ailing to participate. After the meeting, Zhang also accompanied the Shanghai literary and art delegation to northern Jiangsu to participate in the land reform work for more than two months. Soon after her return, she left Shanghai for Hong Kong. ”
Gong Zhifang's "Before Leaving Shanghai" (Harvest Season, Guan Hong, ed. "Forever Zhang Ailing", published by Xuelin Publishing House in January 1996) Yun: "In 1948, when the national victory was in sight, Xia Yan returned to Shanghai wrapped around the armband of the Eighth Route Army, and he was very concerned about the current situation of Shanghai's literary and art circles. Xia Yan is indeed a person who loves and lives. In the summer of 1950, the first congress of the literary and art circles was held in Shanghai, and among the delegates was the name of Zhang Ailing, which was obviously arranged for her by Xia Yan. When Zhang Ailing went to the conference with a representative card, she did not wear the "extension installation" of the time line, still wore a cheongsam, sat in the last row of the venue, and did not let people pay attention to her. She sat and looked at the situation in front of her, what was going on in her heart, and no one knew. However, she attended a congress sponsored by the Communist Party, and finally had such a time. Xia Yan, out of his outstanding talent for Zhang Ailing, wanted to hire her to work in the film script writing institute that would be established, and he consulted with Ke Ling. The author was also entrusted by Xia Yan, and when he had contact with Zhang Ailing, he asked her if she planned to stay in Shanghai with her in the future. I did ask her this, and she smiled and didn't give me a positive answer, as if she were thinking about it too. I later reported to Xia Yan. ”
There are some obvious mistakes here, such as Gong Zhi's "In 1948, when the national victory was in sight, Xia Yan returned to Shanghai with the armband of the Eighth Route Army wrapped around him", "The Anniversary of the Liberation of Shanghai" was on May 27, 1949; Wei Zhi "The First Literary Congress was held in Shanghai in July 1951"; and from July 24 to 29, 1950, the First Congress of Literary and Artistic Workers was held in Shanghai. In addition, Gong Wen's "Xia Yan, out of his outstanding talent for Zhang Ailing, wanted to hire her to work at the film script creation institute that would be established, and he consulted with Ke Ling", which is also a direct use of The Ke Ling article.
Cha Xiayan chronology, arrived in Nanjing from Chongqing in September 1945, went to Shanghai to organize the resumption of the "Salvation Daily", published in the name of "Jianguo Daily" in October, was soon seized, and returned to nanjing Meiyuan New Village in July 1946 to work for the CPC delegation; in April 1949, he left Hong Kong for Beiping, and in May he entered Shanghai with Chen Yi, serving as deputy director of the Cultural and Educational Control Committee of the Shanghai Military Control Commission, responsible for the reception of cultural and educational units. If we say from Ke Ling, "After the end of the War of Resistance Against Japanese Aggression and Xia Yan returned to Shanghai from Chongqing, I heard that there was a Zhang Ailing during the fall and read her works", it should have occurred during the first visit to Shanghai during the above two times. If, from What Wei Shaochang said, "Now that he has read the serial novels in the newspaper, and then supplemented the revised edition of Zhang Ailing's novel collection "Legend" published by shanhe Books," it was the second time he came to Shanghai, and it was after the "Yi Bao" began to serialize Zhang Ailing's "Eighteen Springs" written by Liang Jing on April 25, 1950. Gong Zhifang's statement is close to Wei Shaochang's, but he said that "Ke Ling specially introduced Xia Yan to read several novels written by Zhang Ailing" at this time, but it was inconsistent with Xia Yan's own statement that "I know Zhang Ailing and read her works, and Tang Dalang introduced me to me", and Tang Dalang is the editor of Yi Bao with Gong Zhifang. However, xia Yan had already known Tang Dalang when he came to Shanghai the previous time, and he was also one of the authors of the "Sea Breeze" weekly magazine run by Gong and Tang at that time; and the "Guanghua Daily" run by Gong and Tang had published Zhang Ailing's essay "Heaven and Earth People" on April 10, 1945, and Tang Dalang also praised Zhang Ailing's works many times in the poems he wrote, so the phrase "it was Introduced to me by Tang Dalang" was appropriate for Xia Yan's first and second return to Shanghai.
Therefore, we can only judge that Xia Yan "knew Zhang Ailing and read her works" after September 1945, and the specific time remains to be examined. Previously, as Wei Shaochang said, "I was far away in the interior and didn't see it." Incidentally, the "knowing" mentioned here is treated as the "knowing" solution. In the article "Literary and Art Talk", Li Ziyun said, "You introduced me to her works in 1950 and said that she was an expert at writing short stories", mentioning "short stories", it can be seen that at this time, Xia Yan not only saw "Eighteen Springs" that was still in serial, but also read Zhang Ailing's previous works.
On June 26, 2004, Lianyi Bao published Xia Yan's Preface to "The Great River Goes East - Shen Zu'an Characters", which was later included in the second volume of "The Great River Goes East - Shen Zu'an Character Theory Collection" (published by China Drama Publishing House in August 2004) and "The Complete Works of Xia Yan" (published by Zhejiang Literature and Art Publishing House in December 2005). Among them was Yun: "Regarding Li Lihua and Zhang Ailing's departure from the mainland, the situation is different. Comrade Zuan originally wanted to combine two people into two parts of an article, but I thought it was inappropriate and suggested that he write another one. Because Zhang Ailing has always been a controversial figure. She was brilliant and flashed in the literary world in her twenties. Before the liberation of Shanghai, I was studying the cultural work after returning to Shanghai with Comrade Zhou Enlai in Xishan, Beijing, and the premier reminded me that there were several cultural celebrities who did not belong to the progressive cultural camp who wanted to try to keep them, including Liu Haisu and Zhang Ailing. The premier had read her collection of novels "Legend" in Chongqing, and in the early fifties I asked Comrade Keling to find a copy to forward to Premier Zhou. But Zhang Ailing later came to Hong Kong and embarked on an anti-communist road, which she was responsible for herself. People live in the world, objectively there are all kinds of influences and interferences, but the road still has to go by itself. I agree with ZuAn's statement in the article "Remote Sacrifice Zhang Ailing". Li Lihua did not originally study to strive to stay, but for such a big star in China in the 1940s, we still welcome her new achievements in the new Chinese film industry. Later, she left, one thing is the same as Zhang Ailing, that is, in the years after liberation, in the rectification of the literary and art circles, the unity and concern for them were not enough, plus there were few films at that time, due to various factors, of course, it was not her turn. There were also practices that did not conform to the party's united front policy, so they could not stay later. At the end of this article, "Wang Zhuang, Hangzhou in 1993", the sentence "I agree with Zu'an's discussion in the article "Remote Sacrifice of Zhang Ailing" cannot help but make people wonder: Xia Yan died on February 6, 1995, Zhang Ailing was found dead in his Los Angeles apartment on September 8 of the same year, how could Shen Zuan have written "Remote Sacrifice Zhang Ailing" as early as 1993, and how could Xia Yan "agree"? The "Great River Goes East- Shen Zu'an Character Collection" has an annotation cloud here: "When Shen Zu'an's article "Remote Sacrifice Zhang Ailing" was officially published, Xia Gong had died, and the later article Xia Gong was not seen. "It doesn't justify itself.
As for the points in the article that involve Zhou Enlai, it is better to say that "the isolated evidence is not established", not to mention that this "orphan certificate" itself is very suspicious. In contrast to the previous quotation, "In the early fifties, I asked Comrade KeLing to find a copy to forward to Premier Zhou" and What Ke Ling said: "Later, Xia Yan was transferred to the Ministry of Culture as a vice minister, and I also bought "Legends" and "Rumors" in the library of the Shanghai Bookstore and sent them to Beijing to give to him"; what is more interesting is that according to what is said here, whether Xia Yan knew Zhang Ailing after returning to Shanghai for the first or second time, Zhou Enlai came into contact with Zhang Ailing's works earlier than him. However, it is somewhat bizarre that all the people in the rear areas during the War of Resistance Against Japanese Aggression, whether or not in the literary and art circles, did not regard the publication of works in the occupied areas as an act of tarnishing their reputations and festivals, and even "went around and looked at them." For example, Zhu Ziqing, who was in Kunming at the time, wrote to Yu Pingbo, who was stranded in Beiping, saying: "The previous letter said that my brother was writing for the magazine, and it was better for my brother to put her pen aside. (November 22, 1943) If Xia Yan had known about Zhang Ailing after April 1950, then "the prime minister reminded that there were several cultural celebrities who did not belong to the progressive cultural camp who wanted to keep them, including Liu Haisu and Zhang Ailing," and he did not understand who the latter name was.
Editor-in-Charge: Zheng Shiliang