By George Boas

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This point, for when it is understood, to admit the diversity of human it is not a minor persuades an historian and their con- interests and general interplay without trying to fit everything which has been done within a certain chronological flict a formula. Thus we shall no longer see the of growth biological science as the cause of Zola's novels, slice into 50 A PRIMER FOR CRITICS but appreciate the influence of these novels in keeping up the prestige o biological science. If it is important to understand the history of the human mind, then such a utilization of works of art is hardly to be condemned; but when it makes critics deny other than instrumental values to them, it is absurd.

Hence it. we it, such as cannot feel the STANDARDS OF CRITICISM: INSTRUMENTAL VALUES 35 A second complication arises when the works of art have been inherited from the past and have taken 2) on a new which in r61e in our lives all probability they never had in that of their makers. I refer to such a We Venice. work of are not so The Merchant of remote from the Elizabethan art as we cannot guess at Shakespeare's purpose in can say with a fair degree of cerwriting that play. tainty that it was a comedy, not a tragedy.

On a paper and interprets them as a panorama of dramatic incidents; to others, they mean work of art is seen in a context and part nothing. A of die context observer is the contribution can share The contributed by the observer. man who made likely to is it, who When the can deny that his be so personal that no one else it? point of view of the observer gives us the enjoy- ment (or artistry is its work of art or of any maker or performer. We opposite) of any by someone not its shall leave it co others, trained in psychology, to describe NECESSARY DISTINCTIONS 23 1 "the aesthetic experience* in psychological terms, contenting ourselves with noting its existence.

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A Primer For Critics by George Boas

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