思想与情感在文学文本中具有重要地位 ,它们既是文学的表现对象 ,又是文学创造性的主要标志和基本动力。文学思想与文学情感并不是生活中的思想、情感的翻版 ,它们有自身复杂的构成规律。有价值的文学思想 ,只能产生于历史与现实的辩证关系之中 ;有价值的文学情感 ,则与人们的经历、体验密切相联。其生成过程中主体因素互相渗透、复杂交融。同时文学思想与文学情感之间也要发生相辅相成的内在影响。正因此 ,它们才能共同完成在创作过程和文学文本中所承担的重要任务。如果在理论上忽视了文学思想与文学情感的生成规律 ,只把它视为由作家自然完成的单纯的创作行为 ,必然会导致“唯情”“唯理”“主题先行”等不良创作现象的出现 Thought and emotion play an important role in literary texts. They are not only the objects of literature but also the main symbol and basic driving force of literary creativity. Literary thoughts and literary feelings are not the replicas of the thoughts and emotions in life. They have their own complicated rules of composition. Valuable literary ideas can only arise from the dialectical relationship between history and reality. Valuable literary feelings are closely linked with people’s experiences and experiences. The formation of the main factors in the process of mutual penetration, complex blend. At the same time, literary thoughts and literary sentiments have to happen mutually reinforcing internal influence. Because of this, they can jointly accomplish the important tasks they undertake in the creative process and literary texts. If we neglect the law of literary thought and the law of the formation of literary sentiment in theory, we can only regard it as the purely creative act which is done by the writer naturally, which will inevitably lead to the emergence of such bad works as “the solemnity,” “the only reason,” the “theme first”