魯迅的〈辱罵和恐嚇決不是戰鬥〉是中國左翼文藝批評一篇具有經典意義和地位的文章，它的寫作背景以及發表時引起的論爭，牽涉到中國左翼作家聯盟（「左聯」）在二十世紀三十年代進行的一場論爭，以及「左聯」內部複雜的人事矛盾，還有中國共產黨試圖糾正「左聯」的政策錯誤。在這些複雜的矛盾和轉變下面，隱藏著魯迅與「左聯」主要文藝理論和批評人物觀點和態度上的差異。本文即通過魯迅這篇文章的寫作背景分析，亦即「左聯」與胡秋原和蘇汶之間進行的「文藝自由」和「第三種人」論爭，以及中共試圖糾正「左聯」關門主義的努力，以及這篇文章所其產生的效果，探討魯迅在「左聯」實際的尷尬地位，馮雪峰與周揚矛盾產生的原因，以及魯迅與「左聯」理論指導者和實際領導人之間對文藝與政治的問題以及對「同路人」的觀點和態度的差異。魯迅並不支持文藝創作是政治留聲機的觀點，但他並不認為胡秋原對「文藝自由」的觀點符合普列漢諾夫的馬克思主義文藝理論，他也不認為「第三種人」是真正的「同路人」。

Lu Xun's ＂Abuse and Threats are not Fighting＂ is an essay of canonical status in Chinese left-wing literary criticism. The background of its composition and the criticism it drew after its publication are related to a debate that the Chinese League of Left-Wing Writers was involved in the 1930s, the complicated personnel conflicts within the League, and the Chinese Communist Party's effort to correct the policies adopted by the League. Hidden under these complicated conflicts and policy changes, are the differences of opinions and attitudes between Lu Xun and the League's major left-wing literary theorists and critics. Through the effect and the background of the composition of this essay, namely the debates about ＂freedom of literature＂ and ＂the third category＂ between the League and Hu Qiuyuan and Su Wen, and the Chinese Communist Party's attempt to change the League's close-door policy, this paper explores Lu Xun's awkward position in the League, the cause of the conflicts between Feng Xuefeng and Zhou Yang, and the differences of opinions about the relationship between literature and politics and differences of attitudes towards ＂fellow travellers＂ between Lu Xun and the literary theorists and actual leaders of the League. Lu Xun did not support the opinion that literary creation should be the mouthpiece of politics, but he did not think that Hu Qiuyuan ideas about ＂freedom of literature＂ was in accord with Plekhanov's Marxist literary theory, and that writers of ＂the third category＂ were true ＂fellow travellers.