“五四”文藝：斑駁的圖景與永恒的話題

今年是“五四”運動100周年。但只要我們追索現(xiàn)代文化在中國確立的歷史脈絡(luò)，就不得不重溫五四新文化運動的價值和意義?！拔逅摹毙挛幕\動塑造了現(xiàn)代中國文化的基本理念和邏輯。作為新文化的重要組成部分，“五四”文藝對后世的影響同樣深遠。

文藝對“人”的發(fā)現(xiàn)

“五四”運動迸發(fā)于民族危難、國權(quán)淪喪之際，首先是一場喚起人心、救亡圖存的運動。但更深層次的看，喚起民眾是為了給現(xiàn)代中國誕生奠定文化和心理基礎(chǔ)。而對于一個民族的現(xiàn)代轉(zhuǎn)型而言，“人”的確立又是最基本的前提。沒有“人”的現(xiàn)代化，現(xiàn)代社會和文化的一切都無從談起。在我國漫長的封建社會，固然不乏先進的思想家提出民本、重民等思想，也有如湯顯祖的《牡丹亭》這般歌頌人性解放的作品，但并不占主流。封建文化在本質(zhì)上缺乏對“人”的尊重。因此，人的自我發(fā)現(xiàn)和自我解放，也就成為“五四”時期文藝的重要主題。正如郁達夫所言：“‘五四’運動最大的成功，第一要算‘個人’的發(fā)見”。作為一場發(fā)現(xiàn)“人”的運動，“五四”的功績多為親歷者論及。原《大公報》總編王蕓生曾這樣說：“我是‘五四’時代的青年?！逅摹_始啟迪了我的愛國心，‘五四’使我接觸了新文化，‘五四’給我的恩惠是深厚的。‘五四’在我心靈上的影響是終生不可磨滅的?！憋@然，這種刻骨銘心的影響，正是從內(nèi)心深處生發(fā)的自我人格的確立。

即便在一百年之后，我們依然可以在“五四”時期的文藝作品中讀到前賢真誠而熱切的聲音。魯迅在名篇《狂人日記》中大聲疾呼“救救孩子”，并借狂人之口說，“你們立刻改了，從真心改起！你們要曉得將來是容不得吃人的人”。周作人則極力倡導(dǎo)“人的文學(xué)”，并且說“要講人道，愛人類，便須先使自己有人的資格，占得人的位置”，要對人生諸問題加以記錄研究。在不同的藝術(shù)領(lǐng)域，對“人”的重視也比比皆是。徐公美在《現(xiàn)代戲劇的意義》一文中就開宗明義地說：“現(xiàn)代戲劇是什么？簡單的說一句，就是‘人的戲劇’?！?/p>

值得一提的是，當時的文藝家重視“人”的目的是為中國創(chuàng)造一種符合現(xiàn)代潮流的新文明。胡適在一篇文章中提到，看一個國家的文明，需要考察怎樣對待小孩子和女人。以此反觀“五四”，我們會發(fā)現(xiàn)，中國文藝真正從“人”的意義上關(guān)注婦女和兒童，也正是從這一時期開始的。以胡適而言，他通過翻譯《玩偶之家》把易卜生主義傳入中國，從此，該劇的女主角娜拉成了“五四”時代婦女解放的象征。后來的許多話劇如歐陽予倩的《潑婦》《潘金蓮》，石評梅的《這是誰之罪》、白薇的《打出幽靈塔》中主人公的身上總映現(xiàn)出娜拉的影子。而在現(xiàn)實中，無數(shù)女青年在娜拉那“砰”的一下的關(guān)門聲中，找到了追求自我解放的勇氣和信心，中國的婦女運動面目為之一新。從那時起，把女性塑造為男權(quán)附屬的文藝作品失去了存在的合理性。時至今日，娜拉的話題依然在討論女性權(quán)益、男女平等問題時不斷回響。在當時的音樂界，黎錦暉等人正在關(guān)注和倡導(dǎo)兒童音樂。1920年，黎錦暉的第一部兒童歌舞劇《麻雀與小孩》創(chuàng)作完成，此后又創(chuàng)作了《葡萄仙子》《小羊救母》等多部兒童劇。這些作品使用的是兒童熟悉的神話或童話，寄托的則是“五四”時期文藝工作者傳播新文化、培育一代新人的熱望。

文藝“大眾化”確立方向

大眾化是“五四”時期文藝的鮮明特征。實際上，早在“五四”運動發(fā)生之前，一股文藝大眾化的潮流已在醞釀。1917年，胡適的《文學(xué)改良芻議》在《新青年》發(fā)表，提出了著名的“八不主義”，即“一曰：須言之有物。二曰：不摹仿古人。三曰：須講求文法。四曰：不作無病之呻吟。五曰：務(wù)去爛調(diào)套語。六曰：不用典。七曰：不講對仗。八曰：不避俗字俗語。”陳獨秀在《文學(xué)革命論》中也提出要打倒貴族文學(xué)、山林文學(xué)、古典文學(xué)，建立平易的國民文學(xué)，新鮮的寫實文學(xué)，通俗的社會文學(xué)。他所倡導(dǎo)的“美術(shù)革命”，實質(zhì)上也是要建立一種大眾美術(shù)。文藝要面向民眾的思想貫穿了整個“五四”時期，我們可以在多個藝術(shù)門類發(fā)現(xiàn)其回響。比如，在美術(shù)領(lǐng)域，林風(fēng)眠明確提出：“打倒貴族的少數(shù)獨享的藝術(shù)！打倒非民間的離開民眾的藝術(shù)！提倡創(chuàng)造的代表時代的藝術(shù)！提倡全民的各階級共享的藝術(shù)！提倡民間的表現(xiàn)十字街頭的藝術(shù)！”高劍父也特別注意藝術(shù)大眾化，指出：“藝術(shù)要民眾化，民眾要藝術(shù)化，藝術(shù)是給民眾應(yīng)用和欣賞的?！痹谠拕☆I(lǐng)域，鄭振鐸認為，當時的中國需要的話劇應(yīng)該是“平民的”，因此“并且必須是：帶有社會問題的色彩與革命的精神的”，表現(xiàn)在話劇創(chuàng)作實踐上，就是“社會問題劇”在“五四”時期的勃興。胡適的《終身大事》反映婚姻戀愛問題，陳大悲的《幽蘭女士》折射倫理道德嬗變，王仲賢的《好兒子》反映了當時社會的貧困，洪深的《趙閻王》表現(xiàn)了軍閥混戰(zhàn)的現(xiàn)實。再看音樂界，黎錦暉1920年在北京成立“明月音樂會”，提出音樂會要“高舉平民音樂的旗幟，猶如皓月當空，千里共嬋娟，人人能欣賞”。致力于國樂改進的劉天華也說，“我希望提倡音樂的先生們，不要盡唱高調(diào)，要顧及一般的民眾，否則以音樂為貴族們的玩具，豈是藝術(shù)家的初愿”。

大眾化是一種理念，同時也是一種發(fā)展邏輯，它暗含了理念自我實現(xiàn)的工具和方法。白話文受到提倡并在文藝創(chuàng)作中得到廣泛運用，就是其中之一。胡適在《什么是文學(xué)》一文中曾提出，好的文學(xué)必須滿足三個條件，首先就是“要明白清楚”。他還說過：“死文字決不能產(chǎn)生活文學(xué)。若要造一種活的文學(xué)，必須有活的工具。我們必須先把這個工具抬高起來，使他成為公認的中國文學(xué)工具，使他完全替代那半死的或全死的老工具。有了新工具，我們方才談得到新思想和新精神等等其他方面。”當時和語言文字關(guān)系密切的藝術(shù)門類中，來自西方的話劇自不必說，天然地拒絕“之乎者也”的故作高深。在音樂界，蕭友梅、黎錦暉、趙元任等人的歌曲創(chuàng)作，都運用了通俗易懂、便于理解的白話文。黎錦暉曾這樣說：“我也永不能得‘音樂程度較高的鑒賞者’和‘音樂專家’的原諒，因為仍舊不愿盡遵固有的‘樂式’不愿盡配完美的和音；而且‘造詞’力求接近普通的白話，‘配譜’力求接近平常的語調(diào)，希望歌舞劇的‘歌詞’一天天和對話戲的‘對話’相似，臺上人‘唱著’和‘說著’一樣的明白”。而更直接也更有聲勢地體現(xiàn)“五四”文藝的大眾化方向的，或許是民間文藝運動的興起。正如鐘敬文所言，民間文藝運動“是當時波瀾壯闊的新文化運動一個組成部分”。對于“五四”時期的文藝家而言，“民間”具有精神家園的意義。北京大學(xué)的歌謠征集活動如火如荼地開展，并擴展到對“民間”的整體性研究，就像顧頡剛說的，要把埋沒了幾千年的“民眾藝術(shù)”一層一層地發(fā)掘出來。文學(xué)家俞平伯提出“所言淺者所感者深”，呼吁“使詩歌充分受著民眾化”“我們要做平民的詩，最要學(xué)的是實現(xiàn)平民的生活”“吾心歸來呀！從人間，歸來！”

在后來關(guān)于“五四”文藝傳統(tǒng)的建構(gòu)和敘述中，大眾化無疑是最強勢的聲音之一。1938年，毛澤東在魯迅藝術(shù)學(xué)院的講話中提出“到群眾中去”。1940年，他又在《新民主主義論》中將新民主主義文化概括為“民族的科學(xué)的大眾的文化”“它應(yīng)為全民族百分之九十以上的工農(nóng)勞苦民眾服務(wù)，并逐漸成為他們的文化”。1942年，毛澤東在延安文藝座談會上的講話中，再次深入論述文藝大眾化的問題，并以此為基準，規(guī)劃了中國文藝的發(fā)展路徑。新中國成立后，文藝的大眾化方向則成為國家的文藝方針。時至今日，隨著經(jīng)濟體制轉(zhuǎn)型和社會結(jié)構(gòu)的變遷，“大眾”的內(nèi)涵和“五四”時期乃至新中國成立后的前30年已有不同，但文藝的大眾化依然是“五四”留給我們的寶貴財富，在推動社會主義文藝健康發(fā)展的過程中依然具有導(dǎo)航儀的重要意義。

執(zhí)拗而堅韌的文藝傳統(tǒng)

毋庸置疑，“五四”運動帶有激烈的反傳統(tǒng)色彩，在文藝領(lǐng)域，甚至提出了對傳統(tǒng)戲曲的過火批判，將其視為野蠻的“遺型物”。當歷史煙云散去，對此又該如何正確理解呢？筆者認為，魯迅后來在《無聲的中國》中所說的一段話值得深思。他說：“中國人的性情是總喜歡調(diào)和，折中的。譬如你說，這屋子太暗，須在這里開一個窗，大家一定不允許的。但如果你主張拆掉屋頂，他們就會來調(diào)和，愿意開窗了”。以此體會前賢當時的心態(tài)，關(guān)于美術(shù)革命、批判舊戲的過激言論也就不足為奇了。

不僅如此，當我們理性而細致地分析這場以反傳統(tǒng)為名的運動時，又會發(fā)現(xiàn)傳統(tǒng)其實以一種執(zhí)拗而堅韌的姿態(tài)融灌其中。發(fā)起“國劇運動”的余上沅等人，對待傳統(tǒng)戲曲保持了相對公允客觀的態(tài)度，他們重視戲曲重表現(xiàn)、寫意化的藝術(shù)特色，并希望能吸收到新戲劇的創(chuàng)造之中。被譽為“中國的舒伯特”的趙元任，作為“五四”時期“新音樂”創(chuàng)作的杰出代表，與胡適、徐志摩等人合作的《新詩歌集》被蕭友梅稱為“替我國音樂界開一新紀元”。其中，趙元任作曲、劉半農(nóng)作詞的《教我如何不想他》更是膾炙人口，被認為充分反映了“五四”青年對戀愛自由的追求，但當我們靜心聆聽這首名曲時，卻會發(fā)現(xiàn)主要的旋律素材源于京劇西皮原板過門。馬克思曾經(jīng)說過，對于沒有音樂感的耳朵來說，最美的音樂也毫無意義。套用一下這句話，或許正因為趙元任使用了對于中國人的耳朵“帶感”的旋律，才讓這首歌所蘊含的美學(xué)價值和文化意義得到充分張揚。事實上，在趙元任看來，中國傳統(tǒng)音樂資源應(yīng)該得到充分尊重，因此他在創(chuàng)作中總是嫻熟地運用中國民歌、戲曲音樂等元素。

傳統(tǒng)對于“五四”文藝的意義不僅于此，更重要的還在于文藝觀的傳承。一方面，“五四”文藝顯示出與傳統(tǒng)決裂的姿態(tài)，另一方面則不動聲色地接過了重視文藝社會功能尤其是教化功能的接力棒。中國古人向來重視文藝在成風(fēng)化俗中的作用——《尚書·堯典》中記載“詩言志”，《論語》早就提出“詩可以興，可以觀，可以群，可以怨”。不論是“詩言志”，還是“興觀群怨”，都是對文藝社會功能的充分肯定。而“五四”時期的文藝家則賦予了文藝改造國民性、喚起人心、塑造新人等多項任務(wù)，雖然這些任務(wù)本身與傳統(tǒng)社會對文藝的要求不同，但重視文藝社會功能并在這種功能鋪設(shè)的軌道上推動文藝發(fā)展的邏輯卻是一致的。

關(guān)于“五四”文藝可談的話題還有不少，現(xiàn)實主義在中國文藝中主流地位的確立、西方文藝思潮的影響，抑或新文藝創(chuàng)作群體的興起與現(xiàn)代文藝共同體的形成……它們共同構(gòu)成了“五四”文藝豐富而斑駁的圖景。但筆者以為，“人”的發(fā)現(xiàn)、大眾化的方向、文藝傳統(tǒng)若隱若現(xiàn)地延續(xù)，是這幅圖景中最值得關(guān)注和思考的課題?！拔逅摹蔽乃囀且粋€厚重的歷史話題，也是一個深刻的現(xiàn)實話題。“五四”對文藝所提出的課題是永恒的，“五四”文藝對“人”提出的課題也是永恒的，它直接指向并釋放了蘊藏在文藝結(jié)構(gòu)最深層之中的張力。

我們知道，回到起點，往往更能看清前進的方向。今天回顧“五四”，重讀文藝前賢，并非發(fā)思古之幽情，更不是要在經(jīng)典的幌子下走復(fù)古的老路，而是回到現(xiàn)代中國文藝起步的地方，考究其內(nèi)在機理，探查其發(fā)展規(guī)律，推動中國文藝在古今中西多種資源合力下健康發(fā)展。

This year marks the 100th anniversary of the May Fourth Movement. However,as long as we trace the historical context established by modern culture in China,we must relive the value and significance of the"May Fourth" New Culture Movement,which has shaped the basic concepts and logic of modern Chinese culture. As an important part of the new culture,the influence of the "May Fourth" literature and art on later generations is equally profound.

Literary and artistic discovery of "people"

The "May Fourth" Movement originated in the national crisis and the demise of national power. First of all,it was a movement to arouse the hearts of the people committed to saving the nation. But at a deeper level,the people were aroused to lay a cultural and psychological foundation for the birth of modern China. For the modern transformation of a nation,the establishment of "people" is the most basic premise. Without the modernization in this regard,,everything in modern society and culture cannot be discussed. In China's long feudal society,there were no shortage of advanced thinkers to put forward ideas,such as focusing on people,and there were works like Tang Xianzu's"Peony Pavilion" singing human liberation,but it did not dominate the mainstream. The feudal culture,in essence,lacked respect for the "people". Therefore,the human selfdiscovery and self-liberation became important themes of literature and art during the Movement. As Yu Dafu said,"The greatest success of the Movement' is the first to be regarded as discovery of the 'individual'." As a movement to discover "people",the achievements of the "May Fourth"are mostly discussed by the witnesses. Wang Yunsheng,the former editor-in-chief of Ta Kung Pao,once said,"I was a young man in the 'May Fourth' era. It began to enlighten my patriotism,and made me contact the new culture,'May Fourth's grace for me is profound. And its influence on my soul is indelible for life." Obviously,this kind of unforgettable influence is the establishment of self-personality born from the depths of the heart.

Even after one hundred years,we can still read the sincere and ardent voice of the predecessors in the literary works of the May Fourth period. In the famousThe Madman's Diary,Lu Xun screamed "Save the Child" and said by the madman's mouth,"You have changed immediately,and sincerely changed! You must know that,in the future,it could not tolerate cannibalism." Zhou Zuoren strongly advocated "human literature" and said that "to talk about humanity,to love human beings,you must first make yourself qualified and occupy the position",and record and study the problems of life. In different art fields,the emphasis on "people" is also easily discovered. Xu Gongmei said frankly in his article "The Meaning of Modern Drama"that "What is modern drama? Simply speaking,it is 'drama about human'."

It is worth mentioning that the literary artist's emphasis on"people" at that time was to create a new civilization for China that conformed to the modern trend. Hu Shi mentioned in an article that to look at the civilization of a country,it is necessary to examine how the children and women are treated. In view of the "May Fourth",we shall find that Chinese literature and art,from this period,genuinely focus on women and children in the sense of "people". In the case of Hu Shi,he introduced Ibsenism to China by translatingA Doll's House. Since then,the heroine,Nora,has become a symbol of women's liberation in the "May Fourth" era. Later,the heroines of many dramas,such as Ouyang Yuqian'sSpirit,Pan Jinlian,Shi Pingmei'sWho's Sin it is,and Bai Wei'sFighting the Ghost Toweralways reflect the shadow of Nora.In reality,countless young women have found the courage and confidence to pursue self-liberation in the bang of Nora's shutting the door. The Chinese women's movement started to embrace a new era. Since then,the literary and artistic works that have portrayed women as male ties have lost the rationality of existence. To this day,Nora's topic is still resounding when discussing women's rights and equality between men and women. In the music industry at the time,Li Jinhui and others were paying attention to and advocating for children's music. In 1920,Li's first children's song and dance drama "Sparrow and Child" was completed.Later,he created several children's plays,such as "Grape Fairy" and "Little Sheep Save the Mother". These works use the myths or fairy tales that children are familiar with,and are entrusted with the enthusiasm of the literary and art workers in the "May Fourth" period to spread new culture and cultivate a new generation.

Direction establishment of literary "popularization"

Popularization is a distinctive feature of literature and art during the "May Fourth" period. In fact,a trend of literary and popularization was brewing prior to the movement.In 1917,Hu Shi'sAttempting Discussion of Literary Reformwas published in "New Youth",proposing the famous"Eight-Points Doctrine" First: have substance in speech.Second: no imitating ancient people. Third: pay attention to grammar. Fourth: no sentimental nonsense. Fifth: no cliché.Sixth: no classic codes. Seventh: no antithesis sentence.Eighth: do not avoid the common words." In theLiterary Revolution,Chen Duxiu also proposed to defeat aristocratic literature,mountain literature and classical literature,establish a simple national literature,fresh realistic literature and popular social literature. The "art revolution"he advocated is essentially to build a popular art. The literary and art-oriented thinking for the people went through the entire "May Fourth" period,and we can find its echoes in many art categories. For example,in the field of fine arts,Lin Fengmian clearly stated: "Defeat the art of the aristocratic minority! Defeat private and non-grassrooted art! Promote the art of creating the era! Promote creative art representing the times!" Gao Jianfu also paid special attention to the popularization of art,pointing out:"Art must be popularized,people should be artistic,and art is dedicated to be applied and appreciated by the people."In the field of drama,Zheng Zhenduo believes that the dramas that China needed at that time should be "civilian","and must be: the color with social problems and the spirit of revolution". In the practice of drama creation,it is the popularity of "dramas about social problems" in the "May Fourth" period. Hu Shi'sLifetime Eventsreflects the issue of marriage and love. Chen Dabei'sMs. Orchidreflects the ethical change. Wang Zhongxian'sGood Sonreflects the poverty of the society at that time. Hong Shen'sYama Zhaoshows the reality of the warlord's melee. Turning to the music sector,Li Jinhui established the "Moon Concert" in Beijing in 1920,proposing that the concert should "highly hold the banner of civilian music,just like the moon and the sky,which can be appreciated by all." Liu Tianhua,committed to the improvement of national music,also said,"I hope that the gentlemen who advocate music should not only sing high-profile,and should also take into account the general public. Otherwise,it is not the initial wish of artists that music is the toy of the nobility".

Popularization is an idea and a developmental logic that imply the tools and methods of self-realization of ideas. One of them is the advocacy of vernacular and its widespread use in literary and artistic creation. Hu Shi said in the article"What is literature" that good literature must satisfy three conditions,the first is "to understand clearly." He also said that "dead writing produces no living literature. To create a living literature,there must be living tools. We must first raise this tool and make it recognized for Chinese literature,making it completely replace the old tool that is half or completely dead. With these new tools,we can talk about new ideas and spirits and so on." In the art category that was closely related to the language and words,the drama from the West did not need to be mentioned,and it naturally refused the pretense of "ancient Chinese words".In the music circle,Xiao Youmei,Li Jinhui,Zhao Yuanren and others have used the vernacular texts that are easy to understand. Li Jinhui once said,"I will never get the forgiveness of the 'highly appreciative' and 'music experts',because they are still reluctant to follow the inherent 'music pattern' and do not want to match the perfect accord; and'Creating words' strives to be close to ordinary vernacular,'music arrangement' strives to be close to the usual tone,hoping that the 'lyrics' of the musicals are similar to the'dialogue' of dialogue dramas on a every day manner,and the people’s 'singing' and 'speaking' on the stage can be understood equally." More directly and eloquently reflecting the popularization of the "May Fourth" literature and art,perhaps,is the rise of the folklore movement. As Zhong Jingwen said,the folklore movement "is an integral part of the magnificent new cultural movement at the time."For the literary artists of the Movement,"folk" shoulders the meaning of spiritual home. Peking University's ballad collection activities were in full swing and extended to the overall study of "folk". Just like Gu Jiegang said,the "popular art" buried for thousands of years should be excavated layer by layer. The writer Yu Pingbo put forward the "express deep feelings with most common words" and called for"poetry to be fully popularized." "We must write poems for civilians,the most important thing to learn is to realize the life of civilians." "My heart is coming back! Return from the common world!"

In the later construction and narrative of the "May Fourth"literary tradition,popularization is undoubtedly one of the most powerful voices. In 1938,Mao Zedong proposed in the speech at Lu Xun Academy of Fine Arts "to go to the masses." In 1940,he also summarized the new-democratic culture as "the culture of the masses,the nation and the science" in "New Democracy." "It should serve more than 90% of the workers and peasants in the entire nation and gradually become their culture." In 1942,Mao Zedong once again discussed the issue of popularization of literature and art in Yanan's speech on the literary and art forum,and used this as a benchmark to plan the development path of Chinese literature and art. After the founding of New China,its popularization became the national literary policy.Today,with the transformation of the economic system and the changes in the social structure,the connotation of the"mass" has been different from the "May Fourth" period and even the first 30 years after the founding of New China,but the popularization of literature and art is still the precious wealth left for us from the "May Fourth" Movement,which has the importance of navigation orientation in the process of promoting the healthy development of socialist literature and art.

Stubborn and tough literary tradition

Undoubtedly,the "May Fourth" Movement has a fierce anti-traditional color. In the field of literature and art,it even puts forward a critique of the traditional opera,and regards it as a brutal "legacy". When the smoke of history is gone,how should we correctly understand this? The author believes that Lu Xun's later passage in "Silent China" is worth pondering. He said,"The Chinese people's temperament always likes to reconcile and compromise. For example,if you say that the house is too dark,you have to open a window here. Nobody will allow it. But if you advocate removing the entire roof,they will reconcile,and be willing to open the window." It is not surprising to understand the mentality of the predecessors at that time,and the excessive rhetoric about the art revolution and criticism of the old drama.

Not only that,but when we rationally and meticulously analyze this movement in the name of anti-tradition,we will find that tradition is actually filled with a stubborn and tenacious attitude. Yu Shangyu and others who initiated the "National Drama Movement" maintained a relatively fair and objective attitude towards traditional opera.They attached importance to the artistic expression of drama and freehand expression,hoping to absorb it in the creation of new drama. Considered as "Schubert of China",Zhao Yuanren,as an outstanding representative of the"new music" creation during the movement,completed his"New Poetry Collection" in cooperation with Hu Shi and Xu Zhimo,which was praised by Xiao Youmei as "opening a new era for Chinese music". Among them,"How Could I Not Miss Him",composed by Zhao Yuanren and with lyrics written by Liu Bannong,was even more popular,considered to fully reflect the "May Fourth" youth's pursuit of freedom of love,but when we listen to this song,we will find the melody material of the main tone originated from the original screen of Peking Opera. Karl Marx once said that the most beautiful music is meaningless for the ear without music sense. In this sense,perhaps it was because Zhao Yuanren used the melody most familiar to the Chinese ears that the aesthetic and cultural significance of the song was fully publicized. In fact,in Zhao's view,the Chinese traditional music resources should be fully respected,so he always skillfully used Chinese folk songs,opera music and other elements in his creation.

The significance of tradition for the "May Fourth" literature and art is not just that,more importantly,it is about the inheritance of the literary view. On the one hand,the "May Fourth" literature and art showed a gesture of breaking with the tradition,on the other hand,it took over the baton that attached importance to the social functions of the literary,especially the educational function. The ancient Chinese always attached importance to the role of literature and art in the custom formation --"Book of Documents·Yuan Dian" records "poetry depicts ambition","The Analects" has long suggested that "poetry can be prosperous,observed,socializing and critical." All of them is a full affirmation of the social function of the literary and art. The literary artists of the "May Fourth" period gave the literary and art with more tasks,such as transformation of national character,arousing people's hearts,shaping new people and many others.Although these tasks are different from traditional society's requirements for literature and art,both focus more on the social functions of literary and art. And their attitude of the logic of promoting the development of literature and art on the track is consistent.

There are still many topics that can be discussed about the literature and art during the Movement,the establishment of the mainstream status of realism in Chinese literature and art,the influence of Western literary thoughts,or the rise of new literary and artistic creation groups and the formation of modern literary and art communities,etc. Together,they constitute a rich and mottled picture of the "May Fourth"literature and art. However,the author believes that the discovery of "people",the direction of popularization,and continuous looming of the literary traditions,are most worthy of caring and consideration in this picture. The "May Fourth" literature and art is both a heavy and historical topic,and a profound reality topic. The subject raised by the movement on literature and art is eternal. The subject of the movement raised for "people" is also eternal. It directly points out and releases the tension contained in the deepest layer of the literary structure.

We know that when returning to the starting point,we tend to see the direction of progress more clearly. Looking back at the "May Fourth" today,rereading the predecessors'literature and art is not a nostalgia of the ancient times,or taking the old road under the classic guise,but to return to the place where modern Chinese literature and art started,to examine its internal mechanism and explore its development law so as to advocate the healthy development of Chinese literature and art under the combined resources of ancient and modern China and the West.