Peng Zhen Quotes

The development and resolution of the contradiction between the oppressed nations of Asia, Africa and Latin America and the imperialists headed by the United States have a vital bearing not only on the future of the people of these areas but also on the future of the people of the whole world. This is not a regional question but a question of an overall character in the contemporary world. Its development and resolution are of key importance in promoting the development and resolution of the other basic contradictions.

The people of Asia, Africa and Latin America will always be thankful for the influence and impact of the advanced proletariat of the West, for the inspiration and assistance of the Great October Socialist Revolution and for the enlightenment and guidance of the founders of Marxism-Leninism.

It is for revolution that we unite. Unity with revolutionaries is out of the question if one opposes revolution. Making revolution and opposing imperialism is the demand of the broad masses of the people who comprise more than 90 per cent of the world’s population and is the irresistible trend of history. Whoever goes against this aspiration of the people and this trend will inevitably be discarded by history.

If we don’t grasp the tasks of class struggle well and of socialist education too, then, it is also possible for revisionism to appear. Speaking frankly, there are quite a few problems in literary and artistic circles, surely no less than in other fields of work. Therefore, it is necessary to launch a rectification campaign and a movement for socialist education and wage the struggle between the two roads of socialism and capitalism on the front of literature and art. We must study Comrade Mao Tse-tung’s works carefully, learn Marxism-Leninism, and maintain a firm proletarian stand.

What is an emperor? He is a representative of the landlord class, the chieftain of the landlords. What is an empress? She is the chief of the landlords’ wives. To be sure, some working people were portrayed in Peking operas in the past, but most of them were shown in a distorted and unfavourable light. How can we in our socialist society tolerate such a state of affairs with Peking opera — so important a stage art, a stage art with a relatively high artistic level and an important artistic heritage — continuing to portray emperors, kings, generals and ministers, and continuing to stage operas which are detrimental to the socialist revolution and socialist construction? That can’t be!

There are many types of plays on contemporary themes. Hollywood is also producing “plays on contemporary themes”; the rubbish the modern revisionists are staging also goes under the name of “plays with contemporary themes”. But what we are staging are plays on contemporary revolutionary themes serving the workers, peasants and soldiers and the socialist revolution and socialist construction.

Communist parties of the socialist countries should uphold the dictatorship of the proletariat, consolidate and expand the positions of socialism, and carry the socialist revolution through to the end in the political, economic, ideological and cultural fields. Never for a moment must we forget the existence of classes and class struggle, or forget the struggle between the socialist and the capitalist roads. Only thus can we prevent the restoration of capitalism and create the conditions for the transition to communism.

Without an elementary class analysis, the slogan “unity against the enemy” is meaningless. We must make clear whom they want “unity” with and which enemy they want to deal with.

The people’s revolutionary struggle is surging forward and winning constant victories, while imperialism is being battered everywhere and nearing its doom. The Marxist-Leninists and all revolutionaries are fighting together with the masses of the people with full confidence, dealing hard blows at imperialism and propelling it to its grave. All pessimism is utterly groundless. Whoever spreads pessimistic and defeatist views will be punished by history.

While entrusting contemporary Marxist-Leninists and all other revolutionaries with arduous missions, history has at the same time created a wide stage of action for them. On this stage of history all real revolutionary heroes can perform many a revolutionary drama, full of sound and colour, power and grandeur, provided that they truly grasp the invincible weapon of Marxism-Leninism, truly rely on the broad masses of the people, and are courageous and skilful in waging struggles Innumerable revolutionary forerunners have opened up the road, set the example and accumulated experience for us.

U.S. imperialism is the most ferocious enemy confronting the people of the world. Since the war, it has made use of its economic strength, which was inflated during the war, to build up an unprecedented and colossal war machine, brandishing its nuclear weapons and carrying out frantic aggression everywhere in its attempt to dominate the whole world.

Many Peking operas of the past portrayed emperors and kings, generals, ministers, scholars, beauties, lords and dowagers, young gentlemen and ladies; they prettified the exploited classes and denigrated the working people. Very few plays were staged on contemporary revolutionary themes. Over a long period in the past Peking opera in the main served feudalism and capitalism. Many attempts were made to reform Peking opera, and a number of plays were successfully revised, but at the current Festival of Peking Opera on Contemporary Themes we are witnessing for the first time reforms that are so comprehensive and systematic, so rich in content and well received by the broad masses of the people. This is indeed a revolution in Peking opera.

We are historical materialists. We are not indiscriminatingly opposed to staging historical plays. When we oppose putting on plays about people of the past, we are opposing those plays about people of the past which laud feudalism or capitalism, which prettify the exploiting classes. As for those historical plays which fortify the will of the people and destroy the arrogance of the exploiting classes, and which benefit the cause of the people, help social development and the revolution, and further socialism — historical plays which tell of the fine traditions of the Chinese people — of course these can be staged. But the emphasis must be on staging contemporary revolutionary plays about the living masses of the people fighting their struggles, about the living proletariat in the midst of its struggles.

Literature and art should serve politics and the development of the productive forces. Now that we are living in a socialist society, whom should our Peking opera serve? What kind of plays should we stage? Should we serve socialism by staging plays that advance the socialist revolution and socialist construction or should we stage plays that benefit feudalism or capitalism? This is a fundamental question. It is quite clear that if one does not want to see feudalism or capitalism restored, if it does not hanker after these systems, then in a socialist society one cannot be always staging plays about such representatives of the exploiting classes as emperors, kings, generals, ministers, scholars and beauties.

The contradictions between the proletariat and the bourgeoisie on an international scale, between the socialist countries and the imperialist countries and between the Marxist-Leninists and the modern revisionists all find acute expression in these areas. And so do the contradictions among the imperialist countries.