夏衍的外国文学批评活动主要集中于上世纪20年代末、30年代初。他一生共发表(出版)二十余篇有关外国文学的批评文章(著作)。他的外国文学批评充分表现出自觉遵循“文以载道”传统、为现代革命文艺努力奉献的精神。他没有很明确的文学批评观念,也缺乏自觉的文体意识,他对文体的使用几乎完全取决于有关报刊的要求和本职工作之需;他根据报刊实际及受众情况设计语言风格。他的政治思维过于发达,审美批评思维处于受挤压状态;他对外国文学的批评几乎聚焦于俄苏文学、日本文学,批评视野过于逼仄;他一味推重文学的现实性、社会性,遵循社会——历史的批评思路,不顾及批评方法的多元化,或多或少带有“左”的印痕。 Xia Yan’s foreign literary criticism mainly concentrated in the late 1920s and early 1930s. He has published (published) over twenty critical articles (books) on foreign literature throughout his life. His foreign literary criticism fully demonstrated the spirit of conscientiously abiding by the tradition of “writing through words” and sacrificing dedication to modern revolutionary literature and art. He does not have a clear idea of ​​literary criticism and a lack of conscious awareness of style. His use of style depends almost entirely on the requirements of newspapers and on the job of his job; he designs the language style according to the actual situation of the press and the audience. His political thinking is over developed and aesthetic criticism is being squeezed. His criticism of foreign literature is almost focused on the Russian and Soviet literature, Japanese literature, criticism is too cramped; he blindly emphasizes the reality of literature, sociality, and follow the social - - Historical criticism, regardless of the diversity of methods of criticism, more or less with “Left” imprint.