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A difficult
business!
In listing his three preoccupations, Wollheim, as noted above, puts
painting first and in assessing the merits of this ambitious and not wholly
satisfactory book, we should respect his priorities. T h e paintings he
discusses I know better than I did before. Even while scratching my head
over the internal spectator, I came to notice details that had escaped
me. A more general point: criticism is an art, though, like pedagogy, not
a wholly autonomous art. It follows - at least on a view that I have
defended in Beauty Restored (Clarendon Press, 1984. See Chs. 3 , 4 and 5 )
that there are and can be no principles of criticism, not even primafacie
ones, and no lawlike generalisations that have any logical bearing on the
interpretation of works of art. The difference between good criticism and
useless criticism is a genuine difference but has to be made out on a case
to case basis. Critics bring to their task a certain amount of theoretical
apparatus and if it serves their purpose, it does not much matter what the
theory is or whether it is true. Here again there is a parallel with the arts.
Understanding Masonic twaddle helps with The Mapc Flute; Christian
theology provides a key to what is obscure in Dante or Milton. In the
same way, debased Kantian doctrine yields, in Coleridges hands, good
critical insights and William Empson was carried along by his crude
misreading of G. E. Moore. But if bad theory need not be a hindrance,
good theory need not be a help. In my opinion, psychoanalytic theory,
contrary to what its detractors claim, embodies important insights about
human experience and destiny. Richard Wollheim knows that theory
much better than I do. His commitments sometimes serve him well but
on occasion, as I have suggested, lead him astray, I n the nature of the
case, that is what one would expect.
BARNARD COLLEGE
MARY MOTHERSILL
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A N T O N Y FLEW