从文艺美学的角度看李贽“童心说”的局限性

The Limitations of Li Zhi’s Theory of Childlike Innocence from the Perspective of Literary and Artistic Aesthetics

李贽的“童心说”产生于明末清初,作为一个具有时代启蒙意义的学说,“童心说”受到后人众多的赞扬。学术界对“童心说”的研究,大多局限在对其根源性和进步性的探讨。然而,“童心说”作为一个特殊文化背景下的文艺美学理论范畴,它的产生必然会带有某些历史局限性,诸如“童心说”这一文学理论的价值追求、理论的适用范围等。古往今来,文学发展史的演绎告诉我们,对于文学的传承应当“取其精华,去其糟粕”,对于“童心说”的研究亦是如此。

Li Zhi's theory of Childness originated in the late Ming and early Qing Dynasties.As a theory with the enlightening significance of that time,the theory of Childness has been praised by many later generations.Most of the studies on the theory of Childness in the academic circle have discussed its origin and progress.However,as a theoretical category of literary aesthetics under a special cultural background,the emergence of“childlike innocence”is bound to have some historical limitations,such as the value pursuit of the literary theory of“childlike innocence”,the applicable scope of the theory,and so on.Through the ages,the development of literature tells us that we should“take the essence and discard the dross”for the inheritance of culture,and the same is true for the study of“the theory of childlike innocence”.Therefore,only by deeply recognizing the limitations of theory and critically absorbing it,can we fully display the function of theory.