中国带有意识形态化特性的文学批评始于三四十年代 ,它过多注重切近时势 ,对作品的解读虽然也强调其“艺术性” ,但往往更重视其思想性 ,而所谓的思想性又被简缩为某种单一的理论兴趣 ,由此很容易造成对作品的误读 ,这种误读又反过来影响并制约作家的创作。本文以“曹禺现象”为个案 ,探讨其艺术创造力从 30年代爆发到 4 0年代中期之后很快衰退的原因 ,认为理论批评界对作家的误读所形成的强有力的社会舆论使作家对自己的创作力产生了误解 ,由此偏离了他自己所熟悉的轨道而进入他人设定的轨道 ,最终制约住了他富于原创性的创作。 Literary criticism with Chinese characteristics of ideology began in the 1940s and 1940s. It placed too much emphasis on the current situation. Although the interpretation of a work emphasizes its “artisticness,” it tends to pay more attention to its ideological nature and its so-called ideology is reduced to A kind of single theoretical interest, which is likely to cause misreading of works, which in turn affect and restrict the author’s creation. This article takes “Phenomenon of Cao Yu” as a case to discuss the reasons why its artistic creativity erupted rapidly from the outbreak of the 1930s to the mid-40s of the 20th century. It argues that the powerful public opinion formed by the misunderstanding of the writers in the theoretical critics makes the writers’ His own creative power produced misunderstandings, thus deviating from the track he was familiar with and entering into the track set by others, eventually restricting his original creation.