文牧这个名字,也许鲜为人知;但说起沪剧《芦荡火种》的作者,阿庆嫂、刁德一、胡传魁三个鲜明形象的缔造者,上了点年岁的人倍感亲切。就是他,因为咬文嚼字被打成“反革命”。上世纪60年代,《芦荡火种》被改编成京剧《沙家浜》并被列为“革命样板戏”后,人们还以为文牧为“文艺红线”立了大功,会成为红人。孰料1967年文艺界在批封、资、修文艺黑线时.他竟成了“牛鬼蛇神”,被关进了“牛棚”。 However, the name of Wenmu is probably little known. However, when it comes to the three vivid creators of the Shanghai drama “Relocation of Fire”, the authors of Qing Dynasty, Diao Deyi and Hu Chuan-kui, people who are older in age feel more cordial. It is him, because the chewing word was labeled as “counter-revolutionary.” In the 1960s, after the adaptation of “Lundonghuocu” into Peking opera “Shajiabang” and its inclusion as a “model opera for revolution,” people also thought that “Mulu” was a great success for Wenhua Red Line and would become a red person. Guessed in 1967 when the literary and art circles criticized, funded and repaired literary and art black lines, he became “the monster and the zombie” and was locked into the “bullpen”.