本文探討一九三○年代「鄉土文學」論戰期間，賴明弘與《南音》作者群有關文學的階級性、民族性的論戰。討論著重於三個問題：首先，從當代的臺灣文學場域，探討雙方的配置位置、文學體制，擁有的文學資本，而位居文壇前輩及掌握刊物編輯權的《南音》，擁有的文學資源、權力遠勝於賴明弘。其次，賴明弘運用文學鬥爭批評，將文藝當作階級「武器」，批判《南音》、《臺灣新民報》、新舊文學及第三文學為布爾文學；第三，從文學理論的合理性來看，賴明弘批判各文學文類時，在文藝武器論與文藝大眾化、中國白話文等理論之間，往往呈現自相矛盾。他從階級意識批判新文學是布爾文學，卻又從中國白話文肯定，顯現理論標準不一；最後，由於缺乏理論深化，對於葉榮鐘「第三文學」的民族性挑戰，幾乎毫無理論的反擊。

The paper exams a debate of Folklore Literature during the 1930s, Ming-Hong Lai embarked a discussion on class and nationality with Southern Voice . Therefore, my research will focus on three themes. Firstly, I will draw difference among the power relationship, the literary system and the culture capital between Ming-Hong Lai and Southern Voice . Secondly, how Ming-Hong Lai launched a series of literary infighting to criticize other literary communities such as Southern Voice, Taiwan New Daily Newspaper, Modern Literature and the Third Literature as a Bourgeois Literature. Thirdly, I will focus on the limitation of Lai’s contradiction in terms of the reasonability of literary theory and the consistency of ideology. Meanwhile, Lai made no sense to attack his counterpart’s literature theory and failed to persuade us with his arguments.