比较诗学是跨民族跨文化的文学理论研究,其任务是通过对世界各民族文论遗产的挖掘整理,比较分析,批判吸纳,丰富和发展现代文学理论。然而从我国比较诗学兴起至今已十数年,却一直是“天倾西北,地缺东南“。众所周知,在古代文明世界,中国、印度和希腊是文学大国,各自创造了独具一格的文艺理论,是世界文论的三大源头,经过千余年的发展和辐射,形成了西方文论,中国 (东亚)文论和印度(南亚)文论三大文艺理论体系。尽管由于历史原因西方文论在近百年占据了中心位置,但历史并非如此,将来也不能总如此。中国比较诗学应该打破欧洲中心论,但实际状况却令人失望。研究者对西方文论趋之若骛,而对东南文论则比较淡漠。所谓比较也限于中西之间,印度文 Comparative poetics is an intercultural cross-cultural literary theory research. Its mission is to absorb, enrich and develop modern literary theory critically by excavating, comparing and analyzing the heritage of various ethnic literary theories in the world. However, it has been ten years since the rise of comparative poetics in our country, but it has always been “leaving the northwest day and lacking the southeast.” As we all know, in the ancient civilized world, China, India and Greece are great literary nations, each creating its own distinctive literary theory and the three major sources of world literary theory. After more than a thousand years of development and radiation, the formation of Western literary theories , China (East Asia) literary theory and India (South Asia) literary theory three literary theory system. Although Western literary theories took center stage for nearly a century for historical reasons, history is not so, nor will it always be. Chinese comparative poetics should break the Eurocentric theory, but the actual situation is disappointing. Researchers are flocking to western literary theory, while indifferent to southeast literary theory. The so-called comparison is also limited to between China and the West, Indian