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NEW BOOKS. 415 in writings which make the widest appeal. Apart from this, Dr. Reich has given a clear and interesting sketch a difficult task, where so much compression was necessary of the gradual emancipation of art from morality: or rather of her progress "from slavery through freedom to vol- untary service ". In reaction against the undue pretensions of morality there grew a tendency to disclaim all connexion, which has in its turn given way to the more scientific and impartial recognition of an essential affinity. *To illustrate this movement, Dr. Reich quotes a wide variety of opinion, drawn from the aesthetic of Germany, France, England and Italy. To the fact that Dr. Reich is writing for a German public, we owe an appreciative treatment of Ruskin. In the third, the critical part of the book, Dr. Reich develops the line of thought indicated in the introduction. While still careful to avoid dogmatising, he does not conceal from us in what direction his sympathies li : with those, namely, for whom, to quote his own words, "the most. important matter is not to enjoy specific emotions, but to preserve the welfare of their souls ". Art, whatever we hold its sphere or mission to be, does in fact exercise a most vital influence on our character and sen- timents. The artist aims at communicating his own impressions, beliefs, and aspirations, in fine his view of life ; and his work, if it influence at all, cannot fail to influence through its content as well as its form. The young, especially, turn to art with a definite desire to learn something of life. Hence the artist is forced to be a teacher whether he will or not : for " die Kunst muss wirken ". He cannot therefore afford to cultivate his art without a purpose, or with no purpose save a perfection of form to which the content is indifferent. In the work of all great artists, the existence of wider and often extra-testhetic aims is evident. So too, the public in enjoying, the critic in estimating, art is justified in regarding the content as of primary importance, although this may involve a sacrifice of the purely artistic attitude. For, to quote again, " the artistic value of a work of art is not affected by its possible moral condemnation, but its value for life is " a conclusion with which all must, in part at least, agree. We may indeed take exception to the first statement, and reply that artistic approval, if it be honest, rests on artistic enjoyment, and that this demands the assent of our whole nature, and cannot therefore be compatible with moral disapprobation. But Dr. Reich's final state- ment is surely convincing : ' value for life ' means moral value, even if it means something more ; and it is this ' Lebenswert ' with which we are finally concerned, and which alone secures permanence for any human production. For nothing can live itself, which does not help the life of the world. But it is as human productions that works of art are in the last issue to be judged and estimated. Dr. Reich informs us that his book nearly coincides in its subject- matter with his lectures on the relation of art to morality. Perhaps this accounts for a certain desultoriness of treatment, which suggests the spoken rather than the written word; and which, though attractive in itself, makes it at times difficult to follow his line of thought. Especially the critical part of the work, which is the most valuable, would repay a more systematic, possibly also a more expansive, treatment. The earnest and impartial spirit in which the book is written, will recommend it to all whom the problem interests whether their interest be chiefly specula- tive or practical. J. SHAWCROSS.