"Sha Jia Bang" and the previous "Ludang Tinder" are both a very short cross-section of the New Fourth Army's Jiangnan Anti-Japanese Resistance, and its core is that after the wounded and sick of the New Fourth Army recovered, they regained their vitality and eliminated the enemy.
At the end of the play, the New Fourth Army made a surprise attack on Shajiabang and won a great victory in total annihilation of the enemy.
So, what about later?
According to the idea of the drama, the anti-Japanese situation in Jiangnan should be very good, with towns like Shajiabang, as well as vast waters, anti-Japanese fighters should be like dragons in the water, and the final victory is just around the corner.
But in fact, we will find that the anti-Japanese situation in Jiangnan immediately turned into a low point after the red fire shown at the end of "ShaJiabang".
The peak situation of the anti-Japanese resistance in Jiangnan was to reorganize the anti-Japanese troops in Jiangnan into the Sixth Division of the New Fourth Army, and officially enabled the troops in "Shajiabang" who still had the name of "Jiang Kang" to enter the new Fourth Army structure.
However, from the summer of 1941, the Japanese and puppets began to encircle and suppress the New Fourth Army, which was lying next to the bed.
The encirclement and suppression quickly paid off, and the Sixth Division of the New Fourth Army had to withdraw from Jiangnan and come to the central Soviet region, while the troops who remained to "insist" on the operation also suffered serious losses.
On November 1 of that year after the "Qingxiang" began, "the leading organs of the Sixth Division were merged internally with the First Division, under the command of Su Yu", while the two brigades under the jurisdiction of the Sixth Division, the Eighteenth Brigade, were assigned to the 1st Division and the 16th Brigade was under the command of the 1st Division.
Tan Zhenlin, the former commander of the Sixth Division, later became the commander of the Second Division and fought an anti-Japanese battle in the Huainan area.
It can be seen that the troops of the New Fourth Army, which ushered in the final victory in "Shajiabang", later had to move most of them to the central Soviet region in the Japanese and pseudo-"Qingxiang" struggle, and only a small number of troops were retained to persist in the struggle in Jiangnan.
This actually reflects that "Sha Jiabang" as a drama, it is based on the general trend of the Chinese revolution, complete its plot construction, in the complete space of the drama, its ups and downs, can reflect the overall process of history, but in the details, omit the twists and turns in history.
At the end of "Sha Jiabang", the great victory of the New Fourth Army cannot be seen as a partial victory alone, but should be a concentrated and refined reflection of the final victory beam of the War of Resistance Against Japan by the drama workers.
And when we go deep into the details of the general direction of history, we will find many more real secrets that have been covered up.
In the "New Fourth Army Story Collection" co-written by Shi Yan, the author of "The Story of LiuBao", a story in "Qingxiang" is described in three sections. This should have been rewritten according to the memoirs written by the person concerned, the main content of which was how a guerrilla group of thirty-one members evaded the pursuit of the Japanese and the hypocrites in the struggle to clear the countryside, and finally only four people were left, and one of the female members of these four people actually killed her father with her own hands.
In the story, when the female team member was looking for a way to break through, she was trying to cross the road from Shen City to Dong Bang, and saw a pseudo-policeman flirting with a woman, and when it was confirmed that he was only one person, the female team member decided to help the innocent woman.
Because there was no bullet in the gun, the female team member slammed the pseudo-policeman with the butt of the gun, but was found by the pseudo-policeman, and the two people wrestled, after all, the female team member was thin, could not beat the pseudo-policeman, and was pressed under the pseudo-police.
Suddenly, the pseudo-policeman called out the name of the female team member, and it turned out that this pseudo-policeman turned out to be the father of the female team member.
In the story, this pseudo-policeman is forty miles away, and in the past he was also a landlord, but then he was broken, so he had to go to the police to mix a bite of food and eat, usually eat and drink poison and gamble, everything is complete, from today's point of view, it is a scumbag.
When the pseudo-policeman saw his daughter, his humanity was not lost, he stopped fighting, and the female team member got up from the ground, hesitated again and again, or picked up her father's rifle on the ground and "beat him to death."
The female team member fell into deep pain, "I want to think about not beating him to death, it is okay to teach him a lesson." ”
This story is so cruel that our writers dare not face it, and can only record the unbearable side of an era in the form of a documentary story.
The cruelty of this story also reflects the harshness of the struggle to "clear the countryside" in disguise.
Without this life-and-death struggle, then the father and daughter would not have been placed on the platform of this life-and-death duel, testing the human relations that Chinese pay special attention to.
Shi Yan in "The Story of LiuBao", only wrote a love story, the end is still Chinese like the reunion, did not touch the more severe and cruel side of the war, in general, the film is a little too bland, even the performance of love is superficial.
In the prototype of this story, the soldiers of the New Fourth Army were finally sacrificed, and the village girl who was like a second sister did not wait for her eighteen-year-old little brother.
It can be seen that the film erases the more tragic facts in reality and turns it into a light battlefield romance.
Chinese writers can collect materials, but they are reluctant to weave them into works of art to reveal the fierce shock and turmoil of the human heart.
The story in the New Fourth Army Story Collection has a high degree of similarity with the debut novel "Birthmark" by the former Soviet writer Sholokhov.
Sholokhov is a writer who cannot be underestimated for his profound influence on Chinese literature. His novel "Quiet Don River" provides mo yan's novel with themes, plots, words and many other dimensions of inspiration, usually, domestic scholars say that Mo Yan's mentor is "One Hundred Years of Solitude", but Mo Yan himself has said that he did not finish reading "One Hundred Years of Solitude", and "Quiet Don River" is deeply rooted in Mo Yan's heart and bone marrow.
Sholokhov's "Birthmark" describes a Red Army cavalry company commander who participated in the suppression of bandits, going after and killing a gang of wandering bandits.
And the leader of this gang is his father. This bandit, who participated in the war with the Germans, which was later shown in the "Quiet Don" in the war of the First World War, was later captured by the Germans, and then he joined the White Army, that is, the White Army unit after Denikin, which is the focus of "The Quiet Don", once went to Turkey, and this description of the escape to board the ship and flee abroad was impressive in "The Quiet Don", and Gregory did not flee abroad. The father in "Birthmark" returned and joined the gang.
What is the father's motivation? Just as Sholokhov's protagonist Gregory's wavering in "The Quiet Don", the novel has never shown a convincing reason, the psychological motivation of the characters in Shaw's debut novel is a blank and blind spot, and the charm of Shaw's work is also here, it is precisely because of the vacancy in the psychological setting of the character that his novel contains a huge elastic space of human nature, so that his work has a primitive charm close to the original taste of life.
In this way, in "Birthmark", the father and the son belong to two camps, and the cat-and-mouse game is launched, and finally, in the vast grassland that Sholokhov likes to perform and is good at, the two people launch a life-and-death duel, the father hacks the son to death, and then finds the birthmark mark inherited in the family on the son's foot, the father is in pain, shoots himself, and completes the tragic ending in the novel, giving people a shocking impact.
We can see that the stories in "Birthmarks" and the stories in "New Fourth Army Story Collection" essentially use the same basic elements of human nature.
It is all a father-son relationship, and if it is under normal circumstances, it must be living under one roof, at least to be able to maintain the basic life of a family.
But in the harsh case of war, that all changed.
Father and Son, including Father and Daughter, stand in different camps, they have changed from relatives to enemies, swords and guns, either you die or I live.
Sholokhov keenly captures the dramatic changes that war has brought to human relations, and in doing so finds the drama of the novel.
In a sense, the theme of Birthmark is later amplified in Sholokhov's Quiet Don, that is, the war has brought great reversals and distortions to the interpersonal relations of a region.
It turns out that neighbors in the same village, even relatives under the eaves, have become opponents on the battlefield, and they are inseparable, and "Quiet Don" writes about this cruelty.
Later, Mo Yan basically inherited this theme, the two anti-Japanese teams described in "Red Sorghum" have been in a fierce dispute, just when the two sides are fighting, the Japanese team is coming, which is also the truth that Mo Yan and Sholokhov's "Quiet Don River" are highly close and Mo Yan obviously stole the theme from Sholokhov.
It can also be seen from this that history has infinitely rich possibilities, and the emergence of "Sha Jiabang" only captures a very small window of history, but it is excellent to match the theme of the times, and obtains a strong artistic resonance and resonance, so that the conception in this work of art has a far-reaching impact, and even surpasses the more dramatic events that occur in the same regional environment. This is precisely the dramatic conflict of "Sha Jiabang" that we mentioned above in this article, covering up the part of the true story in the "New Fourth Army Story Collection" that is closer to historical reality.
The enlightenment of this is that the success of the conception of a work of art also covers the preciousness and brilliance of other original materials with its huge influence, but what we should do more is to let those dusty historical elements re-reveal their deeply buried moving brilliance.
The reason why Mo Yan gives people a refreshing feeling through the depiction of "Red Sorghum" in military literature is because in the process of reorganizing history, he used a new image and concept to activate the old materials, including his re-elaboration of the silent elements of history on the basis of "Quiet Don River", thus creating a new work.
The light of "Sha Jia Bang" is too strong, so that many people are willing to incorporate those touching materials in history into the framework of "Sha Jia Bang" and make new interpretations, which is why the red classics continue to be remade.
But why can't we start from the real history, inject our own new discoveries and thoughts, and recreate a touching new brilliance?
This is the little reflection that we should have from the fact that Sha Jia Bang was enshrined as a god and brought a fictional place name in artistic creation to reality.
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