20世纪90年代以来,中国现代文学史叙述不断抬高通俗小说的地位,使其与新文学的“雅”小说相提并论,以改变过去那种无视通俗小说的文学史格局。然而,从雅、俗角度叙述现代中国小说仍值得商榷:从起源上讲,小说具有俗的特点,并非雅文学;在新文学发生之初,倡导者看重的本就是小说“通俗行远”的特点,并未赋予小说以“雅”性;后来在批判“鸳鸯蝴蝶派”过程中,逐渐形成了以“为人生”还是“消闲”作为评判小说雅俗的人为标准,而这一标准在逻辑上是反小说性的,且不符合现代小说创作史实。所以,今后应破除雅俗二元论,审慎考虑现代读者阅读接受情况,重新遴选作品,编纂新的中国现代小说史。 Since the 1990s, the narration of the history of Chinese modern literature has continuously raised the position of popular novels to make it equal to the “Ya” novels of the new literature, so as to change the past literary history pattern that ignores the popular novels. However, the narration of modern Chinese novels from the point of view of grace and vulgarity is still debatable: from the point of view of origin, the novel possesses the vulgar characteristics and is not an issue of ya literature; at the beginning of new literature, advocates value this book as “ ”, But did not endow the novel with “ Ya ”sex; later in the critique “ Yuanyang Hudie pie ”gradually formed the “ for life ”or “ Leisure ”as the elegant novels Human standards, and this standard is logically anti-fiction, and does not meet the historical facts of modern fiction. Therefore, in the future, we should get rid of the dualism of elegance and vulgarity, carefully consider the reading acceptance of modern readers, select the works again, and compile a new history of Chinese modern novels.