研究者们认为，李长之是中国现代文学批评史上一位极具个人风格与特色的批评家。而笔者认为，“浪漫”是构成这种风格与特色的一个不可忽视的关键概念，也是李长之本人在其批评中所反复提及的一个词汇。本文便是围绕李长之批评中的“浪漫”展开论述的。“浪漫—写实”的二元分立模式构成了李长之的基本思维方式，被他用来区分与评价人类社会的各种思潮与运动。其中浪漫侧重于人以及人的情感，而写实侧重人的理智以及人以外的客观环境。在价值取向上，李长之是崇尚浪漫而轻视写实的，古典则被他视为是浪漫的附庸。浪漫的价值取向反映在他的文学批评方面便是“感情的批评主义”。通过“感情的批评主义”，李长之将感情视为文学的根本因素与最高原则。感情使文学作品成其为文学作品，也是衡量文学作品优劣的尺度。批评家对于文学作品的批评应该从情感体验出发，批评文字的写作也应该具有艺术性。在文化批评中，李长之同样坚持以情感为核心。“五四”新文化运动由于过分突出理智而被他讥为“清浅”。他心目中的文艺复兴是充满深厚感情的浪漫精神的复兴。李长之的传记批评是文学批评与文化批评的结合物。通过传记批评，他将自己所心仪的浪漫精神以人格化的方式呈现出来。这些人物分别是孔子、屈原、李白、司马迁，他们的人格与生命各自从不同角度诠释了浪漫精神的内涵，其中孔子与屈原的浪漫主要体现为对于理想的追求与守护，李白的浪漫主要体现为强烈的生命力以及对于人间的浓厚眷恋，司马迁的浪漫主要体现为他作为一个历史书写者所具有的深挚的同情心与正义感。李长之推崇浪漫，是以提升人的尊严与价值为鹄的的，其实质是推崇人本主义，其直接的思想来源是追求“完人”的德国古典精神。同时，他尝试吸收、借鉴德国古典精神以完成对于民族文化的重建。他对于中华先贤思想、人格的解读深受德国古典精神的影响与启发。当然，他的性格对于他思想的形成也发挥着不小的作用，使他在情感与理智之间更偏重情感，在浪漫与古典之间更偏爱浪漫。

The researchers consider Li Changzhi as a critic who has distinguishing criticism feature in the contemporary literature criticism history of China. In my viewpoint, the distinguishing criticism feature mainly comes from the concept of “romantic” which Li Changzhi mentions frequently in his criticism. This essay is just centred on the concept of “romantic”. The model of “romantic-realistic” is the fundamental pattern in which Li Changzhi think and judge the ideological trends and movements. The “romantic” refers to human and human sentiment, while the “realistic” refers to reason and environment outside. As a critic, Li Changzhi advocates “romantic” but keeps distance from “realistic”. So Li Changzhi stands for “Emotional criticism doctrine”, and takes emotion as the focus of his literary criticism. Li Changzhi’s cultural idea is also emotion-centred. He considers the May 4th cultural movement as “the superficial sensibility” because it lacked emotion and sentiment. According to Li Changzhi, Chinese renaissance also must be the reviving of romantic spirit.Li Changzhi’s biography criticism is a combination of literary criticism and cultural criticism. By criticism of this kind, he demonstrates romantic spirit with some Chinese ancient characters. They are Kong Zi, Qu Yuan, Li Bai and Si Maqian. Their personalities and lives expound what romantic spirit is.Li Changzhi proposals romantic spirit in the purpose of human dignity. He learns it mainly from German classical ideal of perfect human. He tries to construct Chinese nation culture in modern way by the help of German classical philosophy and aesthetics. His criticism of Chinese ancient characters is affected deeply by German classical ideology. His thought is also a result of his own individual nature.