论老舍的“赶任务”

On Laoshe's Writing as A Task

老舍于新中国成立之后回到大陆,他在创作上首先面对的是一体化文学场的"赶任务"要求。"赶任务"是一体化文学场的结构性要求,其中的实践者都别无选择。然而,老舍在建国前的身份是国统区的资产阶级进步作家,相对于那些从延安走出来的无产阶级革命作家,老舍身上有着无法摆脱的阶级原罪印记。作为一个资产阶级进步作家,如何在新中国成立后的一体化文学场中洗刷自己的阶级原罪、改变自己的身份,这在政治上对老舍而言是一个严峻的挑战。出于对自己阶级原罪的清醒认识,老舍在进入新中国文坛后比其他作家表现得更加积极,是一个"劳动模范"。老舍的"赶任务"当然不乏真诚的一面,但是"赶任务"从本质上取消了文学的个性化要求,不能不给作家带来困扰和痛苦,尤其是像老舍这样的自由主义作家更是如此。由于1949年之后文学场的高度情境化、仪式化,老舍"赶任务"的苦恼并不总是能够表达出来,他有限的几次表达均在私人场合,这从另一方面反证了一体化文学场"赶任务"的非文学性质。

Laoshe must accepted writing as a task when he returned from America in 1949.This requirement was from thenew literary field with integrate power structure. Every writer must have got to abide by the rules. However, the identity of LaoShe was a progressive bourgeois writer in the Kuomintang-controlled areas before 1949. Compared with those proletarian revo-lutionary writers who came from Yan＇an, Lao She was unable to get rid of the class mark of sin. As a bourgeois progressivewriter, it was a serious challenge how Lao She could wash his own sin and change the identity of the bourgeoisie politically inthe integration of literary field after 1949. Out of the sober understanding of the original sin of her class, Lao She was more ac-tive than other writers after entering the New China literary world, and he was even called a ＂model worker＂.Laoshe had nochoice but to write as a task. Writing as a task cancel the freedom of writer, and beset them. Laoshe＇s affliction of writing cannot express in the ritualized and situated literary field after 1949. He expressed the affliction only in few private venues. Thisproved writing as a task nonliterary.