李长之（1910—1978）是现代文学史上独具特色的批评家和思想家。他在三四十年代写下大量的批评文字，才华横溢、立意高远。李长之谈中国文化，批评“五四”运动，推崇古典文化，追慕先贤圣哲，都是以文艺复兴和民族精神重建为旨归。三四十年代，李长之写了一系列古代文人的传记式批评。令人惊奇的是，他笔下的传主，都被他诠释成浪漫主义者，连孔子也不例外。这似乎令很多研究古代文化的学者难以接受。其实在当时的历史语境中，李长之是以浪漫主义突入古典文化，他所进行的恰恰是一种还原古典文化生命力的人文解读。浪漫主义是李长之文论的一个核心概念，也是他本人人格与价值观的生动表述。对于文艺复兴和民族精神重建他有着浪漫主义的幻想和规划；对于传统文化、文人品格他有着浪漫主义的解读和吸收；对于西方文化尤其是德国文化他有着浪漫主义的狂热喜爱。他笔下的传主，屈原、李白自不待言，就是孔孟两圣人也是浪漫主义的化身。李长之笔下的浪漫主义有着独特的内涵，并不同于文学史上一般意义的浪漫主义。通过对其批评理论和批评实践的解读，我们可以看到，李长之的浪漫主义与民族精神的重建联系在一起。它具有充溢的生命力、深厚的情感、高韬的理想主义和刚健雄厚的品格，它拒绝感伤和颓废。感情的批评主义是李长之浪漫主义的批评理论。李长之对批评主体在批评过程中的情感状态提出了要求。同样是追求批评的客观与公正，李长之与其他批评家要求批评主体保持理智，尽量不掺入个人的感情相反，李长之大力提倡感情的参与。实际上，李长之所要求的感情的参与，正是抛开个人偏见，对于作者感情的尊重和同情。他所追求的是与作者感情的沟通和精神的共鸣。作为浪漫主义批评实践的是李长之以其对民族文化自觉和自信的态度，以浪漫主义突入古典文化，写下的《孔子和屈原》、《司马迁的人格与风格》、《道教徒李白及其痛苦》等一批传记性的文学批评作品。在民族国家危难之际，回顾伟大的时代，彪炳伟大的人物，源于李长之内心深处的焦虑和民族文化认同的需要。他所要做的是从这些民族精英身上，寻找能够让中国民族文化复兴的根本依据，充满理想地建设中国的新文化。西方文化给了他文化复兴的启示和思路，他在传统的文化中看到了民族振兴的精神力量。他那么急切地把那种他认为可以立国的精神抽取出来，放在国人面前，他希望这种精神能够像光一样照耀到每一个中国人的心灵。本文拟从李长之批评中的浪漫主义入手来阐释其文论中体现的思想。在充满革命斗争，救国存亡的年代，现实主义成为文艺的主流，浪漫主义几乎难以存在下去。在很多作家学者纷纷改弦易张之时，李长之逆流而上，独独钟情于浪漫主义。他的思想，犹如在锣鼓喧天的时刻奏出的一曲悠扬的笛声。在那个时代笛声自然地淹没于锣鼓声中，可是今天当锣鼓声随着历史渐渐隐去，我们听到了它悠扬的乐声，不禁为之动容。从中我们看到的是他作为一个知识分子独立思考的能力、独立不迁的品格以及对文化复兴和民族精神重建的重任敢于担当的勇气。

Li Changzhi （1910—1978）,who created profound enormous critical works in the1930s and 1940s is a peculiar critic as well as a thinker with great talents in Chinese modern literary field. None of his works involving with comments on May 4th Movement of 1919 and adoration of classical culture does not aim to rejuvenate Chinese literature and rebuild our national spirit. In the1930s and 1940s, Li Changzhi produced series of biographical critic works focused on man of letters in ancient times in China. It seems unacceptable to many scholars who do research on Chinese ancient culture that each of the heroes created by him was amazingly labeled as a romanticist including Confucius. Indeed, Li Changzhi probed into classical culture with the point view of a romanticist at that time. What he did struggled to revive Chinese classics from the angle of humanism. Romanticism, the core concept of Li’s works expounded his personality and values deliberately. He entertained romantic fantasy and plan of rebuilding and rejuvenating our national culture with his comprehension and absorption the essence of Chinese traditional culture. He also attached affection to western culture especially to romanticism of German. The figures, such as Confucius and Mencius were embodiments of romanticists, let alone Qu Yuan and Li Bai.The romanticism expounded by Li differs from the general romanticism with its unique significance. We can see Li’s romanticism with vigor and affection is bound with the rebuilding of the national spirit after analyzing his critical theory and practice. Moreover, it is endowed with idealism and fortitude and free from either sentimentalism or decadence.The emotion of the critics accounts for the romanticism conveyed in Li’s works which demands the critic’s personal preference. Other critics suggest impartiality and sobriety, conversely, Li enthusiastically advocates the critics’ sensibility. In fact, Li respects and sympathizes with the figures since he requires of the emotion of the critics. What Li peruses lies in the achievement of spiritual communication and sympathy between the critics and the figures involved in. Li Changzhi produced series of autobiographic critic works in the point of view of a romanticist, such as Confucius and Qu Yuan,The Personality and Style of Si Maqian and The Torment of li Bai as a Taoist, which reflect Li’s confidence of our Chinese culture. Why does Li Changzhi make the retrospect of the glorious age and great personages? Because he anxiously needs the identity of our Chinese culture. What he aims to do is constructing Chinese new culture enthusiastically after finding the essential spirit embodied in the elites which can encourage the cultural renaissance. He discovers the spiritual strength and way to rejuvenate our nation after attaining the inspiration from western culture. He urgently extracts the spiritual strength which is believed to promote Chinese people expecting this power casts light on the heart of every Chinese people.The essay intends to expound the thoughts conveyed by Li’s works with the initial analysis of romanticism. Romanticism was endangered while realism constituted the main stream in the age of revolution and turmoil. Li has a liking for romanticism without conforming to the trend of realism. His thoughts seem a melody played by a flute while other musical instruments produce heavy sound which naturally drowns the melody of a flute. However, the wonderful melody touches us today when other sound fades with the advance of the time. In his works, the capability of independent reflection as an intellectual and his perseverance as well as his courage to take the responsibility to rebuild Chinese culture and spirit can be found.