Secondly, literary appreciation has a restrictive and feedback effect on literary creation. The restriction 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 envisioned by the author in his creative activities. In the process of creation, the author should understand its needs, try to figure out its hobbies, imagine its possible reactions, and listen to its opinions and suggestions, so as to adjust and change his creative intentions, goals, ideas and methods. Here, there is a translocation between the author and the reader, and the author becomes the receiver in the face of his own "implied reader", and this attitude of "implied reader" plays a leading role. Wolfgang Ezelle pointed out: "In the process of writing literary works, there is always a hidden reader in the author's mind, and the writing process is the process of telling stories and having a dialogue with this hidden reader." (Ethel: The Implicit Reader, p. 57. Munich, William Fink Publishing House, 1979 edition. In this case, this "implied reader" will inevitably become an organic part of the work. Ethel said, "The implied reader, as a concept, is firmly rooted in the structure of this article" and "The function of the reader is implied in this work, which has been pre-designed in the intentional structure of this article and has formed an extremely important part in the basic structure of this article". (Ethel: The Implicit Reader, pp. 34 and 43. Munich, William Fink Publishing House, 1979 edition. )
In the process of creation, some people's expectation of this "implied reader" is unconscious, 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 to rest. Where they may know, keep it simple; They really want to know, want to know the details. Where to develop as we wish, where to use strange pens as we expected; Where can we talk, where should we take a breath ... "(Lu": For the sake of readers ",Literary and Art Newspaper No.3, 1980, p. 48. In the creation, the author must consider the following aspects: 1. The general appreciation law of readers, and strive to keep the audience excited all the time. For example, China's ancient dramas often use gags to arouse the interest of the audience; 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 and what happens in individual acceptance behavior are completely different in nature. Individual acceptance behavior is more tolerant, while 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 "three unifications" and "stylization" of drama, the quoting of novels, the integration of prose and the rhyme of poetry are all related to "hidden readers", which can not be ignored by writers when they create.
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, "real readers" always need to further develop, supplement, correct or even overthrow the author's original ideas. Of course, as far as different writers are concerned, this gap is often inconsistent. Generally speaking, experienced writers 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", thus realizing their creative intentions more effectively in the actual acceptance activities; On the other hand, a novice often lacks the experience of actually accepting the laws of activities, so that his "implied reader" is far from his "real reader" and always seems to be unable to achieve his creative intention. But in any case, it is impossible for any writer to combine "implied readers" and "real readers" in his creation, and replace the actual acceptance activities with his own pre-designed designs, instead of the role of "real readers".
The reason why this happens is that the "hidden reader" is only the object conceived by the writer in his mind when he is creating, and his character is only presupposed by the writer according to his creative experience. It is just an idealistic, general, abstract and universal concept. His role is to make the works more authentic 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 is beyond the advanced thinking of the writer. His special, concrete, limited, epochal, national, regional, class and personal characteristics may change his tendency and path of accepting activities, historical evolution, changes of the times, differences in national psychology and changes in customs and habits. However, the "implied readers" preset by writers in their works can't keep up with the changes of "real readers" in the ever-changing real life, which will inevitably lead to this gap, dislocation and distance between them. 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 ignored by readers, the author should consider how to change the writing routine. When a performance makes the audience sleepy or leave, directors and actors should consider how to improve the stage and theater of the drama. On the other hand, if a work or performance causes a sensation, or even becomes a smash hit, it will greatly stimulate the writer's creative enthusiasm and further improve his creative level. For example, the sensation caused by the novel karma by contemporary writer Ye Xin is the affirmation and praise of the author's creative path of being close to real life and thinking about the problems existing in reality, which will undoubtedly play a powerful incentive role for the writer's creative passion.
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, and it is always difficult to eliminate the feeling of scratching his head. Because literary criticism is a rational grasp of the aesthetic connotation of a work, such as theme, implication, 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, feeling, experience and understanding of the image system and aesthetic connotation of the work are the necessary basis, and theoretical analysis and summary are 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 becoming a boring dogma. Great critics at all times and all over the world have good artistic accomplishment and rich appreciation experience, and they always show keen understanding and insight to their critics. For example, Heine 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 German romantic writers, this book shows extraordinary aesthetic knowledge and artistic understanding, which is beyond the reach of ordinary critics. Just look at his comparative evaluation of romantic writers 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, and when the autumn wind was bleak and the leaves were falling, he died of haggard. Instead, Hoffman only saw the ghost lying on the ground. Every porcelain teapot, every Berlin hair cover is hiding ghosts, and they often 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 work is a 20-volume Scream. ……
Their poetic art is actually a disease. It has been said that judging their works is not a matter for critics, but for doctors. The rose color in Novalis's works is not the scarlet of Jiankang, but the red of tuberculosis; The purple flame burning in Hoffman's fantasy sketch is not a genius flame, but a high fever and internal heat. (Heine: On Romanticism, p. 108- 1 10. People's Literature Publishing House 1979. )
The wonderful evaluation of Novalis and Hoffman here is obviously based on good artistic appreciation.