李健吾的印象主义批评,推崇审美直觉,以“自我”作为感悟印象的标准,张扬批评主体的个性与情感体验,同时又竭力突破自身个性体验的樊篱,追求“批评的公正”。认为批评在本质上是一种印象,却又不排斥理性,主张把印象形成条例,力求把批评当作一种独立的艺术,尤其是作为一种自觉的、审美的批评,不仅对文学进行审美的阐释,而且也在思考着批评自身的意义与价值。在融会中西的宏阔视野中,基本上实现了传统感悟诗学的现代转型,堪为一种现代形态的感悟诗学。然而,由于李健吾的批评文本大都是一些零散的短篇制作,几乎没有篇幅宏大的学理建构,因此,更准确地讲,它还只是一种准现代感悟诗学。 Li Jianwu’s Impressionist Criticism advocates aesthetic instincts and regards “self ” as the standard of comprehension and impression, advocating the individuality and emotional experience of criticizing the subject, and at the same time endeavoring to break through the barriers of his personal experience to pursue “the fairness of criticism” . In his opinion, criticism is essentially an impression, but it does not exclude reason, advocating the formation of regulations as an independent art, especially as a kind of conscious and aesthetic criticism, not only aesthetics of literature Interpretation, but also thinking about criticizing their own meaning and value. In the broad perspective of integrating Chinese and Western cultures, the modern transformation of traditional perception poetry has basically been realized, which can be regarded as a modern form of perception poetics. However, because Li Jianwu’s criticism texts are mostly short pieces of short stories, there is almost no lengthy academic construction, therefore, to be more accurate, it is only a quasi-modern sentimental poetics.