【摘要】 成仿吾曾被称为"抡板斧"的文学批评家,其激情贯注的批评文字,带有鲜明的"左"的倾向,表现出泾渭分明的宗派色彩。一方面是他广泛吸收古今中外的文学理论使然,另一方面又与他直率坦诚的性格气质息息相关。在文学本体论上,他认同"表现说",带有唯美主义倾向;但在文学价值论上,他又力倡文学活动对社会人生的责任感。在理论提倡上,他推崇批评的同情与公正,但在批评实践中又不时流露出宗派情绪,表现出思想的丰富与驳杂。而逆向思维与辩驳式的鉴赏习惯又使他的文学批评不同凡响,其色彩鲜明的批评文体与激情澎湃的人格魅力相得益彰地留在了中国现代文学批评史上。更多还原

【Abstract】 Cheng Fangwu was once called "a brandishing-the-broad-axe" type of critic,a political sectarian whose writings leaned heavily to the "left." He was strong as he widely absorbed theoretical nourishment from various times and nations,and as he possessed a personal disposition as to say things with a most candid manner.In literature ontology,he identified himself with the theory of presentation and leaned to aestheticism.But in his cognition of literature value,he advocated responsibility of literary activities to social life.In theory,he esteemed fairness and sympathy in criticism,yet his critical practice often betrayed sectarianism and displayed rich but heterogeneous sources of thinking.But his criticism outstood for his negative thinking and dispute-like connoisseurship.His style of writing and personality will stand in the history of modern literary criticism.更多还原