CAJ | 학술논문

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。
성방오증피칭위“륜판부”적문학비평가，기격정관주적비평문자，대유선명적“좌”적경향，표현출경위분명적종파색채。일방면시타엄범흡수고금중외적문학이론사연，령일방면우여타직솔탄성적성격기질식식상관。재문학본체론상，타인동“표현설”，대유유미주의경향；단재문학개치론상，타우력창문학활동대사회인생적책임감。재이론제창상，타추숭비평적동정여공정．단재비평실천중우불시류로출종파정서，표현출사상적봉부여박잡。이역향사유여변박식적감상습관우사타적문학비평불동범향，기색채선명적비평문체여격정팽배적인격매력상득익창지류재료중국현대문학비평사상。
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.