1966 - Literature and Art Workers Hold Rally for GPCR
Important speeches were made by Comrades Chou En-lai, Chen Po-ta and Chiang Ching. The rally called upon the revolutionary fighters in literature and art throughout the country to hold high the great red banner of Mao Tse-tung’s thought, give prominence to proletarian politics, resolutely implement the proletarian revolutionary line represented by Chairman Mao, thoroughly criticize and repudiate the bourgeois reactionary line, unite on the basis of the principles of Marxism-Leninism and Mao Tse-tung’s thought, complete the tasks of struggle, criticism and transformation and strive to create the most splendid new proletarian literature and art in human history. The Military Commission of the Party’s Central Committee appointed Comrade Chiang Ching adviser on cultural work to the Chinese People’s Liberation Army and decided to incorporate the No. 1 Peking Opera Company of Peking and three other units into the P.L.A.
MORE than 20,000 revolutionary workers in the field of literature and art from Peking and other parts of China held a rally for the great proletarian cultural revolution in the magnificent Great Hall of the People in Peking on the evening of November 28.
Comrade Chou En-lai, Standing Committee Member of the Political Bureau of the Central Committee of the Chinese Communist Party and Premier of the State Council; Comrade Chen Po-ta, Standing Committee Member of the Political Bureau and leader of the cultural revolution group under the Party’s Central Committee; and Comrade Chiang Ching, first deputy leader of the cultural revolution group under the Party’s Central Committee and adviser on cultural work to the Chinese People’s Liberation Army, attended the rally and made important speeches.
The rally took place amid the excellent situation which prevailed following the eight separate reviews of a total of more than 11 million members of the mighty army of the cultural revolution by Chairman Mao Tse-tung, the great teacher, great leader, great supreme commander and great helmsman of the Chinese people, and at a time when tremendous victories had been won by the proletarian revolutionary line represented by Chairman Mao. The rally became a pledge of a general offensive by China’s mighty revolutionary contingents in literature and art against the handful of persons in authority in literary and art circles who took the capitalist road, and against the counter-revolutionary revisionist line in literature and art which they represented. It is bound to push the great proletarian cultural revolution forward in the world of literature and art with great vigour and guide the victorious advance of the mighty revolutionary contingents in literature and art throughout China in the direction indicated by Chairman Mao Tse-tung.
Comrade Chen Po-ta’s Opening Address
COMRADE Chen Po-ta presided over the meeting. In his opening address he said:
Today’s meeting is one of great significance. Historically, cultural revolutions, in most cases, begin in the field of literature and art. This is also true of the great proletarian cultural revolution we are now carrying out.
Mao Tse-tung’s thought is the guide for China’s great proletarian cultural revolution. Comrade Mao Tse-tung has creatively developed the Marxist-Leninist theory of literature and art. Using the proletarian world outlook, he has systematically and thoroughly solved the problems on our literary and art front. At the same time, he has systematically and thoroughly blazed for us a completely new trail for the proletarian cultural revolution.
At the Tenth Plenary Session of the Eighth Central Committee of the Chinese Communist Party in 1962, Chairman Mao Tse-tung called for taking firm hold of the class struggle in the ideological field. Following this great call and under the direct guidance of Mao Tse-tung’s thought, there has been an upsurge in reforming Peking opera, ballet, symphonic music and other art forms — revolutionary reforms designed to make the ancient serve the present, to make foreign things serve China and to weed through the old to let the new emerge. Peking opera and other art forms have been used to portray the epic of the heroic struggles of the masses led by the Chinese proletariat. This new creation has given Peking opera, ballet, symphonic music and other art forms a new lease of life, not only making them completely new in content but greatly improved in form and different in appearance from before. Plays on contemporary revolutionary themes have appeared on the stage everywhere. The new proletarian literature and art has an unprecedented appeal for the masses. The reactionaries and counter-revolutionary revisionists, however, revile and bitterly hate this new literature and art for no other reason but because the role of this new literature and art will greatly enhance our people’s political consciousness and will greatly strengthen the dictatorship of the proletariat and the socialist system in our country.
I want to say here that, among the comrades who have persisted in this policy of revolution in literature and art and waged unremitting struggles against the reactionaries and counter-revolutionary revisionists. Comrade Chiang Ching has made outstanding contributions.
History has smashed the pipe dream of the reactionaries and counter-revolutionary revisionists. The revolution in literature and art after the Tenth Plenary Session of the Eighth Central Committee of the Party became the real beginning of our country’s great proletarian cultural revolution.
The history of literature and art is full of sharp conflicts. The conflicts between the new and the old and between the modern and the ancient are reflections of the class struggle in society. The bourgeoisie in the period of the bourgeois revolution used the new literature and art of the time as an important weapon in destroying feudalism. Likewise, the proletariat today must use its own new literature and art serving the workers, peasants and soldiers as a weapon in destroying the bourgeoisie and all other exploiting classes. After the conquest of political power by the proletariat, the bourgeoisie is not reconciled to quitting the stage of history. Chairman Mao has often pointed out to us that the overthrown bourgeoisie is trying, by all methods, to use the position of literature and art as a hotbed for corrupting the masses and preparing for the restoration of capitalism. Therefore, our tasks in the field of literature and art are not lighter but heavier. Our leadership on the literary and art front should not be weakened but, on the contrary, strengthened still further. In order to fulfil their glorious tasks, our revolutionary literary and art organizations must carry the great proletarian cultural revolution through to the end!
It is utterly wrong to deny that there are conflicts in literature and art so long as classes still exist. In the future communist society, when classes have been eliminated and class contradictions and struggles no longer exist, there will still be conflicts between the new and the old, conflicts which we cannot yet foresee completely or are impossible for us to foresee now. Such conflicts, naturally, will also find their expression in literature and art.
Speech by Comrade Chiang Ching
COMRADE Chiang Ching received a thunderous ovation from the entire rally when she went forward to speak.
She described how she came to understand the importance of the great proletarian cultural revolution. Comrade Chiang Ching said: A few years ago, when my fairly systematic contact with certain sections of literature and art began, the first question that arose in my mind was why were plays about ghosts being staged in socialist China? Then also, I was very surprised to find that Peking opera, insensitive as it was to reflecting reality, produced Hai Jui Dismissed From Office, Li Hui-niang and other plays showing seriously reactionary political tendencies. And under the fine pretext of “rediscovering tradition,” many works were written portraying emperors, kings, generals and prime ministers, scholars and beauties. There was great talk throughout the literary and art world about “famous plays,” “foreign plays” and “ancient plays” and it went out of its way to present them. The atmosphere was choked with emphasis on the ancient as against the contemporary, with worship of the foreign and scorn for the Chinese, with praise for the dead and contempt for the living. I began to feel that if our literature and art could not correspond to the socialist economic base, they would inevitably wreck it.
Comrade Chiang Ching went on: In the wake of the changing struggle between the new and the old in the political and economic fields over a number of years, new literature and art, countering the old, have also made their appearance. New items have been created even in Peking opera, formerly considered the most difficult to reform. As you all know, Lu Hsun was the great standard-bearer leading the cultural revolution over thirty years ago. More than twenty years ago, Chairman Mao defined the orientation for literature and art as service to the workers, peasants and soldiers and he posed the question of weeding through the old to let the new emerge.
To weed through the old to let the new emerge means to develop new content which meets the needs of the masses and popular national forms loved by the people. As far as content is concerned, it is in many cases out of the question to weed through the old to let the new emerge. How can we critically assimilate ghosts, gods and religion? I hold it is impossible, because we are atheists and Communists. We do not believe in ghosts and gods at all. Again, for instance, the feudal moral precepts of the landlord class and the moral precepts of the bourgeoisie, which they considered to be indisputable, were used to oppress and exploit the people. Can we critically assimilate things which were used to oppress and exploit the people? I hold it is impossible, because ours is a country of the dictatorship of the proletariat. We want to build socialism. Our economic base is public ownership. We firmly oppose the system of private ownership whereby people are oppressed and exploited. To sweep away all remnants of the system of exploitation and the old ideas, culture, customs and habits of all the exploiting classes is an important aspect of our great proletarian cultural revolution.
Comrade Chiang Ching continued: As for the old forms of art, our attitude can neither be nihilist nor one of total acceptance. A nation must have its own forms of art, its own artistic characteristics. It is wrong to be nihilist and not take over, in a critical way, the best there is in the art forms and artistic characteristics of our motherland. On the other hand, it is also wrong to take everything as positive and not weed through the old to let the new emerge. As to the outstanding forms of art of the various nations throughout the world, we must act in accordance with Chairman Mao’s instructions about “making foreign things serve China” and work at weeding through the old to let the new emerge.
Comrade Chiang Ching said: Imperialism is moribund capitalism, parasitic and rotten. Modern revisionism is a product of imperialist policies and a variety of capitalism. They cannot produce any works that are good. Capitalism has a history of several centuries; nevertheless, it has produced only a pitiful number of “classics.” They have created some works modelled after the “classics,” but these are stereotyped and can no longer appeal to the people, and are therefore completely on the decline. On the other hand, there are some things that really flood the market, such as rock-and-roll, jazz, strip-tease, impressionism, symbolism, abstractionism, fauvism, modernism — there’s no end to them — all of which are intended to poison and paralyse the minds of the people. In a word, there is decadence and obscenity to poison and paralyse the minds of the people.
I’d like to ask: Isn’t it necessary to make a revolution and introduce changes if the old literature and art do not correspond to the socialist economic base and the classical artistic forms do not entirely fit the socialist ideological content? (shouts of yes! yes! from the audience) I am sure most comrades and friends will agree it is necessary, but it must be conceded that this involves serious class struggle and is a very painstaking and fairly difficult job. Fear of the difficulties involved was greater than it need have been among people in general because for a long time the anti-Party, anti-socialist leadership of the old Propaganda Department of the Party Central Committee and the old Ministry of Culture thought up many “reasons” for opposing this revolution and undermining the reform. There was also a handful of people with ulterior motives who attempted to undermine the revolution and oppose change. The reform of Peking opera, the ballet and symphonic music was brought about only after breaking through these difficulties and obstacles.
Comrade Chiang Ching pointed out that the nationwide great proletarian cultural revolution China had moved into since last May had affected almost the whole sphere of ideology. She touched on the question of the sending of cultural revolution work teams to various organizations and said this organizational form, of sending work teams, in the great proletarian cultural revolution was erroneous. And what these work teams had done in the course of their work was still more erroneous! Instead of directing the spearhead against the handful of people in authority within the Party who were taking the capitalist road and against the reactionary academic “authorities,” they turned the spearhead against the revolutionary students. The question of what the spearhead of the struggle should be directed against was a cardinal question of right and wrong, one of principles of Marxism-Leninism, of Mao Tse-tung’s thought! As early as June this year our Chairman Mao made the point that work teams should not be sent out hastily, but a few comrades sent out work teams hastily without asking Chairman Mao’s permission. But it is necessary to point out that the question lies not in the form of the work team but in the principles and policy which it follows. In some units no work teams were sent in, and the original persons in charge were relied upon to conduct the work, yet mistakes were made there nevertheless. On the other hand, some work teams followed correct principles and policy and did not make mistakes. This helps to illustrate the real question at issue.
Comrade Chiang Ching said: Chairman Mao received a million young revolutionary fighters on August 18. How well he respected the initiative of the masses, trusted them and cared for them! I felt I had learnt far from enough. Then, afterwards, the young Red Guard fighters turned outward to society and vigorously began destroying the old ideas, culture, customs and habits. We, the comrades of the Cultural Revolution Group under the Party Central Committee, rejoiced. But a few days later, new problems cropped up. We immediately gathered the facts and investigated and were therefore able to keep up with the constantly developing revolutionary situation. This is what I have described as striving to follow Mao Tse-tung’s thought closely on the one hand, and striving to catch up with the spirit of daring and courage, the revolutionary rebel spirit, of the young revolutionaries on the other.
Comrade Chiang Ching then concentrated on the great cultural revolution in the No. 1 Peking Opera Company of Peking. She said that this company was the first unit in Peking to undertake the glorious task of reforming Peking opera. Directly addressing the opera company, she said: Guided by Mao Tse-tung’s thought, in a matter of a few years you have indeed achieved good results in the work of creating operas on contemporary revolutionary themes, and you have thus set an example to the whole country in the reform of Peking opera.
She said: In order to enable plays on contemporary revolutionary themes to be presented at the National Day celebrations, we had many discussions and we supported your performances and opposed the wrong views by which attempts were made to negate your achievements in revolution. We did a certain amount of explanatory work in various circles to enable you to present your Sha Chia Pang (a Peking opera on a contemporary revolutionary theme) and to get on to the stage the Peking operas The Red Lantern, Taking the Bandits’ Stronghold, Sea Harbour, and Raid on the White Tiger Regiment, the ballets The Red Detachment of Women and The White-Haired Girl, and symphonic music Sha Chia Pang, etc.
We explained that these creative works were an important triumph of the great proletarian cultural revolution and of Chairman Mao’s thinking on literature and art in the service of the workers, peasants and soldiers. And, as facts have proved, the broad masses have recognized our achievements. The revolutionary Marxist-Leninists and the revolutionary people all over the world have placed a high evaluation on them. Chairman Mao and his close comrade-in-arms Comrade Lin Piao, Comrade Chou En-lai, Comrade Chen Po-ta, Comrade Kang Sheng and many other comrades have affirmed our achievements and given us great support and encouragement.
She said: I hope that after we have gone through the struggle and tempering in this great proletarian cultural revolution, we will continue ceaselessly to integrate ourselves with the workers, peasants and soldiers. In this way, we will surely be able to gain new achievements in the reform of Peking opera and other branches of literature and art! Our task is difficult. But we must bravely shoulder this glorious, but arduous, revolutionary task.
Comrade Chiang Ching said that in the great proletarian cultural revolution in the No. 1 Peking Opera Company of Peking there was a very sharp and very complicated class struggle, a struggle for power between the proletariat and the bourgeoisie. She said: You have as yet not exposed and criticized the counter-revolutionary revisionist line of the former Peking Municipal Party Committee in a really penetrating and extensive way. Here it is necessary in all seriousness to point out that certain leading members of the No. 1 Peking Opera Company of Peking have not yet seriously drawn a clear-cut line between themselves and the former Peking Municipal Party Committee. They have neither exposed the crimes of the former Peking Municipal Party Committee in a penetrating way nor made a serious criticism of their own mistakes. They implemented the counter-revolutionary revisionist line of the former Peking Municipal Party Committee. Resorting to double dealing, and by either soft or tough methods, they resisted Chairman Mao’s instructions, and by double-faced tactics carried out all kinds of obstruction and sabotage to undermine the reform of Peking opera. They played many infamous tricks in their attacks both on you and on us.
The heinous crimes in which the former Peking Municipal Party Committee, the old Propaganda Department of the Party’s Central Committee and the old Ministry of Culture ganged up against the Party and the people must be exposed and liquidated in a thoroughgoing way. Likewise, the bourgeois reactionary line within our Party which opposes the proletarian revolutionary line of the Party’s Central Committee headed by Chairman Mao must be exposed and criticized in a thoroughgoing way. Otherwise, it will be impossible to safeguard the fruits of our successful revolution.
Certain leading members of the No. 1 Peking Opera Company of Peking must make a clean breast of what they have done and reveal what the others have done in a thoroughgoing way. This is the only way, and there is no other way out. If they really do so after full criticism by the masses, if they “repent genuinely and make a fresh start,” they will still be able to take part in the revolution. If they really try to correct their errors and begin anew, if they return to the correct road of the Party, it is still possible for them to strive to become good cadres.
She said: Since the counter-revolutionary revisionist line of the former Peking Municipal Communist Party Committee, the old Propaganda Department of the Party’s Central Committee and the old Ministry of Culture has not yet been thoroughly criticized and repudiated, and since the effects of this counter-revolutionary revisionist line on your company have not yet been wiped out, it is impossible for the great proletarian cultural revolution to be conducted thoroughly in your company. And there is the possibility that the movement in your company may go astray and certain people with ulterior motives may usurp the leadership. This would have very harmful effects on the future development of your company.
She added: It is not the case in your company that all the cadres, Party members and Youth League members have made mistakes, or that all the cadres have made the same kind of mistakes. They have to be treated differently, by presenting the facts and reasoning things out, with the attitude of “learning from past mistakes and avoiding future ones and curing the sickness to save the patient.” They should be allowed to correct their mistakes and devote themselves to the revolution.
She emphasized that in the great proletarian cultural revolution, the struggle had to be conducted by reasoning and not by coercion or force. There must be no beating of people. Struggle by coercion or by force can only touch the skin and flesh while struggle by reasoning can touch the soul.
She said: I suggest that you hold fast to the general orientation in the struggle, to the correct principles and policy formulated by the Central Committee of the Party and Chairman Mao, oppose the handful of people in authority who are taking the capitalist road, gradually expand and strengthen the ranks of the Left in the course of the struggle, and unite with the overwhelming majority, including those who have been misled, and help them on to the correct road.
Referring to the question of “minority” and “majority,” she said one could not talk about a “minority” or “majority” independently of class viewpoint. It is necessary to see who has grasped the truth of Marxism-Leninism, of Mao Tse-tung’s thought, who is really maintaining a proletarian revolutionary stand, who is genuinely carrying out the correct line of Chairman Mao. Separate and concrete analysis should be made with regard to each different organization.
In conclusion Comrade Chiang Ching said: I hope that all comrades in the company will raise still higher the great red banner of Mao Tse-tung’s thought, give prominence to proletarian politics, resolutely carry out the proletarian revolutionary line represented by Chairman Mao and thoroughly criticize and repudiate the bourgeois reactionary line, unite on the basis of the principles of Marxism-Leninism, of Mao Tse-tung’s thought, and complete the three tasks — first, of struggling against and crushing those in authority who are taking the capitalist road; second, of criticizing and repudiating the reactionary bourgeois academic “authorities” and the ideology of the bourgeoisie and all other exploiting classes; and third, of transforming education, literature and art and all other parts of the superstructure not in correspondence with the socialist economic base — and that you will make the No. 1 Peking Opera Company of Peking an exemplary revolutionary company which is truly proletarianized and militant!
Speeches by Comrades Hsieh Tang-chung and Wu Teh and Representatives of Some Literature and Art Organizations
IN his speech, Comrade Hsieh Tang-chung, Head of the Cultural Department of the General Political Department of the Chinese People’s Liberation Army, announced that, in accordance with the directive of the Military Commission of the Central Committee of the Party and the decision of the cultural revolution group under the Party’s Central Committee, the No. 1 Peking Opera Company of Peking (including the Red Guard Troupe of the Peking Opera School, which took part in the National Day performances), the National Peking Opera Theatre (including the Red Guard Troupe of the Chinese Opera School which took part in the National Day performances), the Central Philharmonic Society, the ballet troupe and the orchestra of the Central Song and Dance Ensemble had been incorporated into the ranks of the Chinese People’s Liberation Army as constituent parts of the army for political and literary and art work. He extended an enthusiastic welcome to all the comrades in these units on behalf of the General Political Department of the P.L.A., all the commanders and fighters and all the army workers in literature and art.
Comrade Hsieh Tang-chung also announced the appointment of Comrade Chiang Ching by the Military Commission of the Party’s Central Committee as adviser on cultural work to the Chinese People’s Liberation Army. He said: this decision reflects the great interest in the cultural work of our army taken by our most respected and beloved great leader Chairman Mao and his close comrade-in-arms, Vice-Chairman Lin Piao. Comrade Chiang Ching is an excellent student of Mao Tse-tung’s thought, understands it profoundly and has been applying it with great persistence and creativeness. Her appointment is an important decision for strengthening the revolutionization of our army’s cultural work and for making it more militant. In conclusion, he called on all army literary and art workers to study Comrade Chiang Ching’s speech conscientiously, implement the proletarian revolutionary line represented by Chairman Mao resolutely and thoroughly and, in accordance with the directives of the Military Commission of the Party’s Central Committee and the General Political Department of the P.L.A., carry the great proletarian cultural revolution through to the end.
In his speech, Comrade Wu Teh, Second Secretary of the Peking Municipal Committee of the Chinese Communist Party, expressed his determination to rely on the broad revolutionary masses to carry through the exposure and repudiation of the counter-revolutionary revisionist line of the former Peking Municipal Party Committee in a thoroughgoing way, overthrow and discredit the counter-revolutionary revisionists, firmly eliminate their pernicious influence, fully apply Chairman Mao’s line on literature and art and carry the great proletarian cultural revolution through to its completion.
Members of the No. 1 Peking Opera Company of Peking and of the other cultural units which have been incorporated into the P.L.A. — Tan Yuan-shou, Yu Lei-ti, Li Hsing-hai, Ho Fu-hsing and Chien Hao-liang — and Li Yen, representing the August First Film Studio, addressed the rally in turn. These speakers pledged to do as Comrade Lin Piao had instructed: “study Chairman Mao’s works, follow his teachings, act according to his instructions and be his good fighters.” They said they were determined to keep to the four “firsts,” carry forward the “three-eight” working style, take the “three constantly read articles” of Chairman Mao’s as their mottoes all their lives, break with “self” and foster devotion to the public, take the remoulding of their world outlook very seriously and transform and thoroughly temper themselves in the great red furnace that is the P.L.A. They were resolved, they said, to make their theatrical troupes, philharmonic society and film studio propaganda units for the dissemination of Mao Tse-tung’s thought, produce more theatrical works on contemporary revolutionary themes reflecting the great thought of Mao Tse-tung, and create a brand new proletarian literature and art for better serving the Chinese people and the people of the world.
Speech by Comrade Chou En-lai
COMRADE Chou En-lai made his speech amid stormy applause.
He first expressed his complete approval of and support for the speech by Comrade Chiang Ching and warmly congratulated the No. 1 Peking Opera Company of Peking and the three other units on their incorporation into the Chinese People’s Liberation Army. He said he hoped that in the future more literary and art units would join the ranks of the Chinese People’s Liberation Army.
Comrade Chou En-lai said: The great proletarian cultural revolution now unfolding in our country is an extremely broad and deep proletarian revolutionary movement, a proletarian revolutionary movement at a higher stage. This revolution is of extremely great significance. It has aroused hundreds of millions of people and touched everybody to his very soul. It has shaken the whole world, all society and literary and art circles as a whole. Under the guidance of Mao Tse-tung’s thought, this revolution is transforming society in accordance with the proletarian world outlook. The aim of this great revolution is to consolidate the dictatorship of the proletariat, dig out the roots of revisionism, prevent a possible restoration of capitalism, make sure that our country will never change colour, greatly stimulate the development of the social productive forces, and exert a great influence upon and give great support to the revolutionary movements of the people of the world.
He said: The great proletarian cultural revolution is a new stage in socialist revolution. With the appearance of the proletariat on the stage of history, a new literature and art of the masses came into being which runs counter to the old literature and art of the exploiting classes. During the period of the new democratic revolution, Chairman Mao already put forth the historic task of a cultural revolution. In his On New Democracy and Talks at the Yenan Forum on Literature and Art, he expounded the guiding principles for the proletarian cultural revolution. During the period of socialist revolution, he has personally led a series of important movements of criticizing and repudiating bourgeois academic concepts. After the socialist revolution on the economic front was basically completed, the socialist revolution on the political and ideological fronts was under way. Two brilliant essays by Chairman Mao, On the Correct Handling of Contradictions Among the People and Speech at the Chinese Communist Party’s National Conference on Propaganda Work, were published. In these essays he put forward the great historic task of eradicating what is bourgeois and fostering what is proletarian in the ideological sphere. This revolution, in its present stage of development, has become a dynamic mass movement of the great proletarian cultural revolution which has stirred the whole of society and in which hundreds of millions of people are consciously taking part.
Comrade Chou En-lai pointed out: Our revolution in the field of literature and art has won great victories. In the past few years, epoch-making achievements have been made in reforming Peking opera, the ballet, symphonic music and sculpture. This is a big leap forward in our efforts to revolutionize our literary and art work. These achievements have been won in line with the orientation, indicated by Chairman Mao, of serving the workers, peasants and soldiers and under the guidance of his policies of putting emphasis on the present as against the past, making the past serve the present and making foreign things serve China. They have been won through hard class struggle and after breaking through the numerous obstacles created by the counter-revolutionary revisionist line of the former Propaganda Department of the Party’s Central Committee, the former Ministry of Culture and the former Municipal Party Committee of Peking. They represent a raising of standards based on popularization and a popularization guided by the raising of standards. Influenced and motivated by these models, a number of new, revolutionary works of art and literature have been created and the masses of workers, peasants and soldiers have appeared as the central figures. This revolutionary movement is bound to unfold in still greater depth in every sphere of literature and art and exert a most profound and far-reaching influence on our future.
Comrade Chou En-lai said: The achievements of the revolution in literature and art mentioned above are inseparable from the guidance given by Comrade Chiang Ching and from the support and co-operation of the revolutionary Left in literary and art circles. They are fruits of the resolute struggles against the evil revisionist line which ran through literary and art circles from the 30s down to the 60s. Comrade Chiang Ching has taken a personal part in actual struggle and in artistic practice.
He said: The achievements of our revolution in literature and art have been enthusiastically welcomed by the masses of workers, peasants and soldiers and other revolutionary people at home. Moreover, they are warmly praised and highly valued by revolutionary comrades and friends the world over.
After listing the words of praise from many foreign comrades and friends for reform of literature and art in our country, Comrade Chou En-lai said: From what many foreign comrades and friends have said, we can see how greatly the revolutionary people of the world value the achievements of the reform of our literature and art! This is a great victory for Mao Tse-tung’s thought! The orientation for literature and art pointed out by Chairman Mao is at the same time the orientation for the revolutionary literature and art the world over. The path we are breaking is the very path that proletarian literature and art of the whole world will follow! We must continue to march forward with full confidence along this correct path!
He said: Our literary and art organizations are among the focal points in the great proletarian cultural revolution. In the past, under the long rule of a handful of counter-revolutionary revisionists, literary and art circles became an important position for them to resist Chairman Mao’s ideas on literature and art and his revolutionary line, to disseminate revisionist poison and create public opinion for the restoration of capitalism. In the great proletarian cultural revolution, we must resolutely expose, one and all, the handful of bourgeois Rightists who, entrenching themselves in literary and art circles, oppose the Party, socialism and Mao Tse-tung’s thought, and we must refute, overthrow and completely discredit them.
He pointed out: Our literary and art ranks must be thoroughly reorganized and built up in the great proletarian cultural revolution. Literary and art workers should be encouraged, in the heat of revolutionary struggle, to revolutionize their thinking, eliminate the evil influence of the revisionist line on literature and art, resolutely carry out Chairman Mao’s line on literature and art and earnestly integrate themselves with the workers, peasants and soldiers. Thus, our vast numbers of literary and art workers will be steeled into a proletarianized, militant and revolutionary army of literature and art. All comrades engaged in literary and art work should make great efforts to study and apply Chairman Mao’s works in a creative way in the course of struggle and seriously remould their world outlook. They should put themselves to the test in the heat of class struggles. Instead of being “revolutionaries in words,” who indulge in empty talk, they should strive to be genuine proletarian literary and art fighters whose acts square with their words.
He pointed out emphatically: The great proletarian cultural revolution in literary and art circles should be carried to its completion by relying on the literary and art workers themselves. We must resolutely implement the correct line of Chairman Mao, thoroughly criticize and repudiate the reactionary bourgeois line and deeply, thoroughly and completely carry out the tasks of struggle, criticism and transformation on the literary and art front.
In conclusion, Comrade Chou En-lai said: We are certainly able to use the new proletarian literature and art to replace the decadent literature and art of all the exploiting classes! Illuminated by Mao Tse-tung’s thought, we are certainly capable of creating the most splendid literature and art in human history.
At the end of the rally, all present rose and, with Comrade Chou En-lai conducting, sang in unison Sailing the Seas Depends on the Helmsman. The whole assembly sang with revolutionary ardour, and cries of “Long live Chairman Mao” resounded long through the Great Hall of the People.
Among those attending the rally were the following leading members of the Party’s Central Committee and of various departments: Tao Chu, Kang Sheng, Li Fu-chun, Chen Yi, Li Hsien-nien, Tan Chen-lin, Hsu Hsiang-chien, Yeh Chien-ying, Hsieh Fu-chih, Teng Ying-chao, Hsiao Hua, Liu Chih-chien, Chang Chun-chiao, Wu Teh, Kuo Mo-jo, Hsieh Tang-chung, Wang Li, Kuan Feng, Chi Pen-yu, Mu Hsin, Yao Wen-yuan, Li Tien-yu, Wang Hsin-ting, Hsu Li-ching, Yuan Tzu-chin, Chang Chih-ming, Wang Tung-hsing, Chou Jung-hsin, Tung Hsiao-peng, Tang Ping-chu, Hu Chih, Ting Kuo-yu, Hsu Kuang-ping, Chang Pen, Li Wei, Chen Ya-ting, Yu Chi, Tsao Yi-ou, Yeh Chun and Chang Tsien.
Also present were Sung Chiung, Chin Ching-mai, Li Ying-ju, Chu Hsi-hsien, Li Yen, Wu Ti, Yu Li-chun, Yeh Hsiang-chen, Tan Yuan-shou, Wang Meng-yun, Chien Hao-liang, Tu Chin-fang, Li Hsing-hai, Teng Yuan-sen, Yu Lei-ti and Ho Fu-hsing.
One hundred and eighty-two young Red Guards were also present on the rostrum.
 The four “firsts” are: First place must be given to man in handling the relationship between man and weapons; to political work in handling the relationship between political and other work; to ideological work in relation to other aspects of political work; and, in ideological work, to the ideas currently in a person’s mind as distinguished from ideas in books. The “three-eight” working style refers to the three phrases: “firm and correct political orientation; a plain, hard working style; flexibility in strategy and tactics” and eight Chinese characters: “unity, alertness, earnestness and liveliness.” The “three constantly read articles” are: Serve the People, In Memory of Norman Bethune, and The Foolish Old Man Who Removed the Mountains. — Tr.