INTRODOCTION 5 party and the arts which the Chinese party had yet to come to grips with. It also raised the question of the limits and scope of realism in literature, both very pertinent questions and both still defying an answer. These questions have to be squarely faced. A process of new literary resurgence cannot be set into motion without finding answers to these questions. Any systematic elaboration of Marxian aesthetics will have to grapple with these problems. Their systematic presentation in terms of arts policies has been made by Zhou Enlai in recent times. The Chinese Premier delivered a keynote speech to a forum of writers and artists on 19 June 1961. It is not necessary to go into a full discussion of what he said in that speech. It is interesting, however, to note that he discussed these problems within the framework of "socialist freedom and ease of mind." Talking about ideological remoulding Zhou Enlai came out with a formulation so typical of him. He said: The goal of ideological remoulding is to further our cause, do a better job in literature and art and improve unity among literary and art workers, and not to make them tense. The work should be carried out in the manner of a gentle breeze and mild rain. It cannot be done with haste. It should be done over a long period and done patiently. Only thus can people have ease of mind. Party and the Arts Zhou Enlai's speech is a pointer. Within the context of "socialist freedom" or perhaps in order to explain what "socialist freedom" should and does mean, Zhou Enlai distinguishes between the political criterion and the artistic criterion. "Political criterion does not mean everything; there must still be the artistic criterion." This is a useful and provocative distinction. This distinction does not negate the validity of the political criterion. What it does is to emphasize that one cannot take the place of the other. A good work of art will have to satisfy both the requirements. The debate on Water Margin and Zhou Enlai's address thus deal with some problems which are and should be central to the consideration of Marxian position on arts and aesthetics. Besides, both these arc inseparably linked with practice in China. It is important that we take a fresh look at these problems in our own context. The more important questions raised by the Water Margin debate and Zhou Enlai's speech relate to the relationship between society and literature. The controversy over Dismissal ofHai Rui raises the pertinent question of party and