从古希腊直到今天这两千余年间,西方的文学观念和文学理论可谓五花八门、层出不穷。特别是十九世纪中叶以来,就更令人眼光缭乱、目不暇接。为了便于把握,许多理论家如黑格尔等都试图对它们进行过梳理和归纳。但由于他们所依据的材料主要是十九世纪中叶以前的理论事实,所以在今天看来,这种归纳就难以做到全面、完整。从目前我们所能掌握的资料来看,归纳得比较明白简要而又全面、完整的恐怕要算是美国理论家艾布拉姆斯了。他在《镜与灯》一书的首章《批评理论的方向》中,以他对构成艺术作品整个格局的四种成分——艺术家、作品、世界、听众——之间关系的认识为依据,把 From ancient Greece until today more than two thousand years, Western literary concepts and literary theory can be described as varied, one after another. Especially since the mid-nineteenth century, even more dazzling, dizzying. For ease of grasp, many theorists, such as Hegel, tried to sort out and summarize them. However, due to the fact that they are based mainly on the theoretical facts before the middle of the nineteenth century, it is unlikely that today’s induction will be comprehensive and complete. Judging from the information we can grasp at the moment, it is probably the American theorist Abrams who summarized it more briefly, comprehensively and completely. In the first chapter of Mirror and Light, “Criticizing the Direction of Theory,” he bases his knowledge of the four components that make up the entire work of art - artists, works, the world, and listeners - , Put