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现实主义理论包含着科学认知与人文理解这一对矛盾。“写实”意味着遵循自然科学的认知原则,对客体对象精确、逼真的反映与复制；而“文学”却是一个虚构、想象性的人文世界,渗透着作家主体的精神意愿与价值取向,即作家对人生、世界的“理解”,而且还负载着对读者道德的教喻与训诫的功能。这一悖论式的两极趋向,在中国文学对西方写实主义的接受进程中始终交错、纠合在一起。中国文学界对西方“写实主义”的接受,有着从早期的向科学认知原则倾斜的写实主义(真即是美),到中期的科学认知与人文理解交错的写实主义(不脱离现实的真善合体),再到后期的向以意识形态为核心的人文理解倾斜的写实主义(善即是真,善中之真方为美)的进程。在这一进程中,写实主义的概念始终处在动态的、不断的调整之中。
Realism contains the contradiction between scientific cognition and humanistic understanding. “Realism” means following the cognitive principle of natural science and accurately and vividly reflecting and duplicating the object. However, “Literature” is a fictional and imaginative humanistic world that permeates the spiritual aspiration and value orientation of the writer’s subject, That is, the author’s “understanding” of life and the world, but also the function of moral metaphor and admonition to readers. This paradoxical tendency of polarization has always been staggered and united in the process of Chinese literature’s acceptance of Western realism. The acceptance of western “realism” by the Chinese literary world has been characterized by the fact that realism (which means true beauty) inclined from the early principles of scientific cognition to interlacing scientific cognition and humanistic understanding in the medium term Goodness and goodness fit), and then to the late understanding of humanism with ideology at a sloping realism (good is truth, good in truth is beauty). In this process, the concept of realism has always been dynamic and constant adjustment.