比喻的政治功能: 毛澤東的比喻與 1957 年的整風、反右運動

Abstract

摘要

眾所皆知，作為中華人民共和國領導人三十載的毛澤東，偏愛傳統的文學。毛澤東自幼接受古典文學教育，並且貫穿他的政治生涯，就連在最動亂的時刻，他依舊書寫並分享詩作。直到今日，研究中國近代史與文學的學者大體而言，通常將此文學性的毛澤東自中華人民共和國主席的毛澤東完全切割出來。然而，毛澤東的文學著作並不侷限於他的詩作，事實上他對文學的偏愛溢入了他的政治書寫，並且構成了他政治書寫的核心觀點。本論文意圖協調毛澤東論著中的政治與文學，並試著分析在他的政治事業中，其中一個文學傾向所扮演的功能—即他對比喻的大量運用。為什麼那位在所有的政治對話中反覆主張明確性；鼓吹社會主義寫實主義、辯證唯物主義，並主張所有的措詞都應該是「科學的」的毛澤東，總一再地借力於「香花」、「毒草」、「牛鬼蛇神」和正義「暴風」此一類的比喻，來表達他的政治概念？

本論文聚焦在1957年的整風和反右運動，自兩個不同地角度檢視毛澤東對比喻的政治運用。在第二章，筆者會觀察毛澤東對個別比喻（香花、毒草、牛鬼蛇神）的運用，並且分析毛澤東的文學天分如何使他得以巧妙地玩弄與操縱這些比喻以實現他的政治目的。在第三章，我們的焦點將轉移到毛澤東的著作中無所不在的延伸比喻畫面。為了探知這類比喻畫面在毛澤東的政治修辭中的功能，筆者會分析毛澤東在整風與反右運動中的重要演講和文章。毛澤東運用這種精巧的多比喻文章所傳達的訊息，是否和他在直白文本所表達的訊息一樣？抑或它們揭露毛主席的截然不同的面向？在這兩章，我們會發現毛澤東靈巧的文學天分使他得以實現政治目的，而這些政治目的是無法透過明確的政治語言來達成的。我們也會發現，毛澤東的詩並非虛置在他政治世界外的旁流，而是他最兇猛的政治武器。

It is well known that Mao Zedong, as well as serving as the leader of the PRC from its inception in 1949 until his death, had a literary bent. He was brought up with a classical literary education, and throughout his political life, even in the most turbulent times, wrote and shared poetry. To date, scholars of PRC history and literature have generally separated this literary Mao Zedong, from Mao Zedong the Chairman of the People’s Republic of China. However, Mao’s literary work is not limited to his poetry; it spills into, and in fact forms a central aspect of his political writing. This thesis, in an attempt to reconcile the political and the literary in Mao’s work, seeks to analyse what place one aspect of Mao’s literary streak played in his political life – that is his extensive use of metaphor. Why did Mao Zedong, who repeatedly argued for clarity in all political communication, who preached socialist realism, dialectical materialism, and held that all language should be “scientific,” turn repeatedly to metaphors of “fragrant grass,” “poisonous weeds,” “ox-headed snake monsters,” and righteous “storms” to present his political ideas? Taking the 1957 Rectification and Anti-Rightist campaigns as its focus, this thesis examines Mao Zedong’s political use of metaphor from two different angles. In Chapter Two, we observe Mao’s use of the individual metaphors of “fragrant flowers” (xianghua-香花 ), “poisonous weeds” (ducao-毒草), and “ox-monsters and snake-demons” (niugui sheshen-牛鬼蛇神), and how his literary talent allowed him to play with and manipulate these metaphors to fulfil his political goals. In Chapter Three, we shift our attention to elongated metaphorical scenes, which appear throughout Mao Zedong’s texts. Mao’s key texts of the Rectification and Anti-Rightist campaigns are analysed in order to ascertain what role these scenes play in Mao’s political rhetoric. Did Mao use these elaborate figurative passages to present the same message as he did in plain text, or do they reveal a different side of the Chairman? In both chapters we find that Mao Zedong’s deft literary talent allowed him to fulfil political goals, which strictly political language would have left him impotent to realize. We find that Mao’s poetry was not an idle sideline to his political career, but one of his fiercest political weapons.