The history of literature and art has proven that the function of distinguishing praise and criticism in literary criticism is weakened, lacking combat effectiveness and persuasiveness, which is not conducive to the healthy development of the literary and artistic cause. Without any critical spirit, it cannot be considered literary criticism. From a practical perspective, the lack of critical spirit is a prominent problem in current literary criticism. There has long been a saying in the industry called "Five Sons": "Circle Criticism", "Sedan Criticism", "Ticket Criticism", "Face Criticism", and "Stick Criticism". To this end, it is necessary to effectively strengthen and improve the work of literary criticism, vigorously cultivate and promote a truly thorough critical spirit, and demonstrate its important role in guiding creation, launching high-quality works, improving aesthetics, and leading the trend. What is the critical spirit of literary criticism? The spirit of criticism is based on objective rationality, seeking truth from facts, praising excellence and belittling inferiority, and stirring up ambiguity and promoting clarity. The essence of promoting the spirit of criticism lies in "saying good about the good and bad about the bad". Mr. Lu Xun said, "Criticism must say bad about the bad and good about the good in order to be beneficial to the author." In essence, he emphasized that literary criticism should be objective and rational, and as Lu Xun said, it should do the work of "cutting out apples" truthfully. In other words, there should be a balance between standing and breaking, and a balance between standing and breaking. We should not only praise the good but also criticize the bad, but also stir up the bad and promote the clear. Only in this way can we distinguish between good and bad, and distinguish right from wrong. In fact, no literary or artistic work can be perfect, full of advantages, and satisfactory in all aspects. There are limitations in both the subjective and objective conditions of creators, as well as different perspectives of commentators and the feelings of audiences and readers. Ultimately, it depends on time, history, and the public to test it. If only the good and not the bad are praised without criticism, it is highly likely to be false and untrustworthy, ultimately leading to comments that no one believes, reads, or listens to, and are not beneficial to the author, work, or society. 'The benefits are good', which should accurately clarify the good, excellent, and creative shining points in literary and artistic works; Saying 'bad' is not about criticizing for the sake of criticism, but about scientifically and reasonably pointing out shortcomings and deficiencies. This is a process of two-way pursuit, mutual connection, and mutual achievement. To put it simply, in the face of the impact and influence of networking and marketization, literary criticism should not be bound by the constraints of "votes" and "face", should not blindly carry the sedan chair, should not be silent about existing problems, should not praise mediocre works, and should not replace artistic standards with commercial standards. Instead, it should dare to speak out and show its sword, actively express genuine opinions, and consciously resist negative phenomena such as "circle comments", "red envelope comments", and "personal comments". The more complex and dazzling the artistic environment is, the more it needs literary criticism as a "weapon" and a "medicine". The core of promoting the spirit of criticism lies in "telling the truth, telling the truth". The value of literary criticism lies in providing certain standards and references to improve the quality of creation and appreciation, and to help promote a clean and upright social atmosphere. The basic premise for its effectiveness is "truth" and "reality", that is, to express one's own views truthfully, without telling lies and falsehoods. Although this does not guarantee that the expressed viewpoint is necessarily correct, it is the logical starting point towards truth - only by being loyal to facts can one be loyal to truth. True artists are not afraid of critics telling the truth, telling the truth. They all understand the principle that good medicine is good when spoken, and honest words are good when spoken. As long as what is said is reasonable and appropriate, one should humbly accept and be willing to accept it, otherwise it cannot be accepted by everyone. Playwright Cao Yu is 14 years older than painter Huang Yongyu. In 1983, Huang Yongyu wrote a 9-page long letter with a brush, criticizing his respected predecessors and saying, "I don't like your post liberation plays, not a single one. Your heart is not in the play, and you are in a wrong position. If I don't tell you the truth, I am not worthy of the friendship you have given me." After receiving the letter, Cao Yu treasured it, framed it, hung it on the wall, constantly reminding and warning himself, and worked hard to reignite the flame of creation. He replied with a long letter, thanking Huang Yongyu for his frankness and sincerity. Their stories of daring to criticize and accepting criticism are regarded as a heartwarming encounter in contemporary Chinese art. We should resist false and ambiguous statements that do not distinguish truth from falsehood and confuse reality with falsehood, and avoid unnecessary nonsense. We should strive to break the habit of "falsehood, grandeur, and emptiness" and vigorously create an atmosphere of "telling the truth, telling the truth". The key to promoting the spirit of criticism lies in "cultivating vitality and vigor". Literary criticism should have vitality and vigor, and at the same time, it must also have righteousness, which is an important support for cultivating vitality and vigor. The so-called righteousness refers to the spiritual qualities of justice, straightness, and fairness. It determines the standards, integrity, and attitude that critics adopt when dealing with literary works and phenomena, including at least the following three aspects: first, adhering to the correct evaluation standards, that is, sticking to the people's standpoint, embracing the "greatness of the country", adhering to professional artistic standards, pursuing truth, goodness, and beauty, and condemning falsehood, evil, and ugliness. The second is to uphold noble integrity, analyze problems in a systematic and logical manner, rather than just passing by and taking detours; Stand firm and maintain integrity in the face of interests and temptations, rather than losing the bottom line and stepping on the red line. The third is to uphold a responsible attitude and be accountable to the work, author, and audience, so that praise is well founded and criticism is reasonable and restrained. Shao Dazhen, former consultant of the China Literature and Art Critics Association, has been writing continuously for over 60 years, creating more than 1000 art criticism articles. He candidly criticizes the shortcomings and flaws of art works, but does not seek complete blame, and can speak to people's hearts. He dares to speak the truth, but has no personal enemies. Instead, he has gained high praise from all aspects, relying on the traditional intellectual's character and integrity. Therefore, critics should pay attention to self-cultivation, cultivate a strong sense of righteousness, vigorous vitality, and high spirit, eliminate outdated, turbid, and weak energy, and oppose vulgarity, flattery, and the Eight legged Qi. Especially in the era of the internet, we should not show off our evil, hostile, impetuous and noisy tendencies in order to gain traffic attention. We should be brave enough to speak out against online violence that deviates from the rhythm, tears consensus, and harms critical spirit, and dare to criticize and manage it. Together, we should create a self respecting, mutual learning, and upright critical ecology. The foundation of promoting the spirit of criticism lies in "sincerity, goodwill, and constructive". Sincerity and goodwill are the duty of being a person and the cornerstone of literary criticism. To address the issues encountered in literary criticism, one should adhere to constructive principles, sincerely evaluate, analyze, and write with warmth, so that people not only feel objective and rational evaluations in criticism, but also feel kindness, sincerity, warmth, and strength. Sincerity leads to the opening of gold and stone. The value of criticism lies in sincerity. With sincere injection, criticism will not be a hurricane that destroys beauty, but a spring breeze that opens new shoots. Fundamentally, this is a vivid manifestation of love, enthusiasm, and responsibility. This sincerity and goodwill will definitely be reflected in the discourse system, between the lines, making criticism both principled and artistic. The first generation of dance performance artists, educators, and critics in New China, Zi Huayun, once proposed the "three truths" of dance criticism: truth, sincerity, and essence - the true feelings of the work, sincere expression of the heart and mouth, and the pursuit and revelation of the true essence of art. From this, it can be seen that none of the "three truths" can be separated from the feelings and analysis of the work itself. If you distance yourself from the work itself and focus on the details, it is very difficult to welcome. The grand and magnificent literary scene of the new era strongly calls for the critical spirit of literary criticism. Both positive and negative evaluations should reflect a constructive approach, focusing on the essence of art and striving to put forward constructive suggestions. We need to strengthen the construction of Marxist literary theory and criticism, identify real problems, propose new solutions, truly unleash the energy of sincerity and goodwill, and make literary criticism closely related to the essence of art, close to the work, evaluate the root cause, and discuss the point without scratching the surface or avoiding the key, let alone writing a thousand words or deviating from the topic. (New Society)