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erse; nor do we read philosophy for the sake of the judgments at which philosophers arrive. We do not want to know Kant's opinion because he is Kant; what interests us is the process by which he arrives at that opinion, and it is the process which convinces us that his opinion is right, if we are convinced. So it is, or should be, with criticism. It ought to provoke thought rather than to suppress it; and if it does not provoke thought it is worthless. But in the best criticism judgment is rather implied than expressed. For the proper subject-matter of criticism is the experience of works of art. The best critic is he who has experienced a work of art so intensely that his criticism is the spontaneous expression of his experience. He tells us what has happened to him, as the artist tells us what has happened to him; and we, as we read, do not judge either the criticism or the art criticized, but share the experience. The value of art lies in the fact that it communicates the experience and the experiencing power of one man to many. When we hear a symphony of Beethoven, we are for the moment Beethoven; and we ourselves are enriched for ever by the fact that we have for the moment been Beethoven. So the value of the best criticism lies in the fact that it communicates the experience and the experiencing power of the critic to his readers and so enriches their experiencing power. If he is futile, so is the artist. If we cannot read him without danger to our own independence of thought, neither can we look at a picture without danger to our own independence of vision. But believe in the fellowship of mankind, believe that one mind can pour into another and enrich it with its own treasures, and you will know that neither art nor criticism is futile. They stand or fall together, and the artist who condemns the critic condemns himself also. There remains the contention, half implied by Sir T. Jackson, that the critic's experience of art is of no value because he is not an artist. Now if it is of no value to himself because he is not an artist, then art is of no value to anyone except the artist, and the artist who practises the same kind of art; music is of value only to musicians, and painting to painters. It cannot be that mere technical training gives a man the mysterious power of experiencing works of art; for, as we all know, it does not make an artist. No artist will admit that anyone through technical training can b
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