Secondly, literary appreciation has a restrictive and feedback effect on literary creation. The restrictive effect of literary appreciation on literary creation can be seen from the fact that literary creation is always under the supervision of "hidden readers". The so-called "hidden reader" is a concept put forward by reception aesthetics, which refers to the recipient conceived in advance by the author in his creative activities. In the process of creation, the author should understand its needs, try to figure out its interests and imagine its possible reactions. Listen to its opinions and suggestions, so as to adjust and change their creative intentions, goals, ideas and methods. There is a certain translocation between the author and the reader, and the author becomes the receiver when facing his "implied reader", and this "implied reader" attitude plays a leading role. Wolfgang Ezelle pointed out: "In the process of writing literary works, there is always an implicit reader in the author's mind. The writing process is a process of telling a story and having a dialogue with the implied readers. (Ethel: The Implicit Reader, p. 57. Munich, William Fink Press, 1979) In this case, the implied reader will inevitably become an organic part of the work. Ethel said, "Implicit readers are solid as a concept. "The reader's function is implicit in the text of the work, which has been designed in advance in the intentional structure of this text and has formed an extremely important part in the basic structure of this text." (Ezelle: Implicit Readers, pp. 34 and 43. Munich, William Fink Publishing House, 1979 edition. )
In the process of creation, some people are unconscious of this "implied reader", while others have a clear consciousness. Lu once put forward the idea of "thinking for readers". He said: "It's best to take time to retreat to the position of readers in the creative process, or imagine how many readers are standing in front of you. Observe where they smile and sigh; Where you are nervous and excited, where you need a little rest, and where you may know, you should be simple; What they really want to know needs to be explained in detail. Where they should go, they should go, and where they should use strange pens; Where can we talk, where should we take a breath ... "(Lu: For Readers, Literary and Art Newspaper, No.3, 1980, p. 48. ) In the creation, the author must consider the following aspects: First, the general appreciation rules of readers, and strive to keep the audience excited all the time. For example, gags are often used in ancient dramas in China. Second, the readers' appreciation level, according to which the creation is layered. If it is an elegant appreciation level, it must highlight ideological, realistic and social. If it is the level of public appreciation, it must pay attention to popularity, popularity and entertainment. Third, the composition of readers. Different literary genres face different audiences. Reading novels or poems is generally an individual's acceptance behavior, but drama will face a huge group gathered in the theater. What happens in public groups is completely different from what happens in individual acceptance behavior. Personal acceptance behavior is more tolerant, and public acceptance behavior is more critical. Personal acceptance behavior is relatively calm, while public acceptance behavior is more emotional; Personal acceptance behavior is more casual, while public acceptance behavior is more limited. For example, the audience composition of drama and poetry recitation is different from that of novels and essays, and accordingly, their creation has a different set of rules. Therefore, the formation of the "three unifications" and "stylization" of drama, the quotation of novels, the mastery of prose and the rhyme of poetry are all related to the "implied reader"
However, "implied readers" are not "real readers". Although the two are closely related, the former has outlined a general outline and delineated a general scope for the latter's activities, but the two can never be completely consistent. The role of "implied reader" envisaged by the author is not completely effective in actual acceptance activities. In the actual acceptance activities, "realistic readers" always need to further develop, supplement, modify and even overthrow the original ideas of writers. Of course, this gap is often inconsistent for different writers. Generally speaking, writers with creative experience can fully foresee what will happen in the actual acceptance activities, and the "implied readers" designed in their works may be closer to the "real readers", so as to realize their ideas more effectively in the actual acceptance activities. On the other hand, a novice often lacks experience in the law of actual acceptance activities, so that his concept of "implied reader" is far from that of "real reader" and he always seems to be unable to achieve his creative intention. However, it is impossible for any writer to combine "hidden readers" with "real readers" in his creation and replace the actual reception activities with his pre-designed reception activities.
The reason why this happens is that the "implied reader" is only the object conceived by the writer in his mind when he is creating. His character is only presupposed by the writer according to his creative experience. It is only conceptual and idealistic, and it is a general, abstract and universal concept. His role is to make his works more realistic and accept activities. So as to realize the aesthetic value and social function of the works more effectively. The "realistic reader" lives in a colorful and varied real life, and his acceptance activities are complex and random, which goes beyond the advanced concept of the writer. He is special, concrete and limited, and the characteristics of the times, nationalities, regions, classes and individuals may change his tendency and path of accepting activities. The evolution of history, the changes of the times, the differences of national psychology and the changes of customs and habits may make its acceptance activities have new characteristics. However, the "implied readers" preset by writers in their works can never keep up with the changes that have taken place in the ever-changing real life. This will inevitably lead to such a gap, dislocation and distance between the two. This requires writers to pay close attention to the appreciation needs, characteristics and trends of "realistic readers" as an important basis for constantly adjusting, correcting and even changing their own creative behavior. Generally speaking, when a novel is neglected by readers, the author should consider how to change the writing routine. When a performance makes the audience sleepy or leave in succession, directors and actors should consider how to improve the stage and theater of the drama. On the contrary, a work or a performance will cause a sensation, even become a hit and a household name, thus greatly stimulating the creative enthusiasm of the screenwriter and further improving his creative level. For example, the sensation caused by Ye Xin's novel karma is a kind of affirmation and praise for the author's creative path of being close to real life and thinking about the problems existing in reality, which is undoubtedly a kind of praise for the writer.
Third, literary appreciation is also the basis of literary criticism. An excellent critic must be a person with high appreciation ability and good appreciation interest. A person who lacks good artistic sensibility, insight and appreciation will never be a good critic. His criticism of literary works is often irrelevant. It is always difficult to get rid of the feeling of scratching, because literary criticism is a rational grasp of the aesthetic connotation of a work, such as its theme, meaning, subject matter, image, form and technique. Whether this rational grasp is possible and to what extent, the theoretical basis and thinking training of critics are of course important, but the feeling, perception, experience and understanding of the image system and aesthetic connotation of a work are the necessary basis. The analysis and generalization of the theory is only the further crystallization and sublimation on this basis. Without this foundation, theory will become a castle in the air, just an intellectual game from concept to concept and from thought to thought, divorced from the reality of work and turned into a boring dogma. Great critics at all times and all over the world have good artistic accomplishment and rich appreciation experience, and always show sincere feelings and incisive opinions on their own criticism objects. Heine, for example, is not only a famous poet, but also an important critic. His On Romanticism is a rare classic of literary criticism. When commenting on a generation of romantics in Germany, this book shows extraordinary aesthetic knowledge and artistic understanding, which is beyond the reach of ordinary critics. Just look at his comparative evaluation of romantics Novalis and Hoffman.
Novalis's eyes are full of miracles, charming and lovely miracles; He listened to the conversation of flowers and trees and understood the worries of budding roses. He finally merged with the whole nature. When the autumn wind was bleak and the leaves fell one after another, he languished and died. On the contrary, Hoffman only saw fallen ghosts everywhere. Every porcelain teapot, every Berlin hair cover is filled with ghosts, and they frequently stick their heads out and nod to him. Hoffman is a magician. He turned man into a beast, and even the beast became a court adviser to the Prussian royal family. He can call the dead out of the grave, but life itself regards him as a gloomy ghost and drives him away. Hoffman himself felt this, and he felt that he had become a ghost; To him, nature seems to be a bumpy mirror, in which he only sees the ever-changing face of his dead body and becomes all kinds of strange shapes. His book is a screaming animal, 20 volumes long. ...
Their poetic art is actually a disease. It has been said that judging one's own works is not a matter for critics, but a matter for doctors. The rosy color in Novalis's works is not healthy blush, but dull blush. The purple flame burning in Hoffman's fantasy prose is not the flame of genius, but a high fever. (Heine: On Romanticism, p. 108- 165438. People's Literature Publishing House, 1979. )
The wonderful evaluation of Novalis and Hoffman here is obviously based on good artistic appreciation.