FROM ANALYSIS TO JUDGMENT 175 



welcomed the insights into art which have been gained since his time from 

 anthropology and other social sciences. 



31 Lectures, First Series, p. 198, our italics. 



32 Cf. Dewey's Art as Experience, Chapter VIII, 'The Organization of 

 Energies'. 



33 Lectures, First Series, p. 223, our italics. 



34 Thus, there is a rough correlation between Taine's 'degree of importance' 

 and 'survival value', and Taine's 'degree of beneficence' and the qualities 

 which make one 'fit' to survive. At least this would apply to the 'health' and 

 'integrity of the natural type' {ibid., p. 286) of the physical man; 'love', a 

 beneficent trait of the moral man, is a less Darwinian concept, except in so far 

 as it indicates a structure of forces which helps society as a whole, or the 'race', to 

 survive. 



35 Ibid., pp. 224-225, our italics. 



36 Ibid., p. 239. 



37 Ibid., p. 284, our italics. 



38 Edmund Wilson claims that we find Taine 'smuggling himself out of his 

 confinement within a mechanistic universe in various more or less illogical 

 ways. When he comes to WTite his philosophy of art, he is obliged to introduce 

 a moral value in the form of "the degree of beneficence of the character" of a 

 given artist or painting.' {To the Finland Station: A Study in the Writing and 

 Acting of History, p. 51.) However, this is a relatively superficial contradiction, 

 if it is one at all, since Taine translates 'beneficence' into terms of 'force' and 

 'external relations'. The more profound conflict comes with Taine's concluding 

 criterion, 'The Converging Degree of Effects', as we shall see. 



39 Lectures, First Series, p. 325. 



40 Ibid., p. 330. 



41 Ibid., p. 342. 



42 Ibid., p. 353, our italics. 



43 Taine later admitted this weakness, claiming that he had not had the time 

 to consider moral values 'experimentally'. (Cf. Note 30, this chapter.) 



44 Cf. Rosea, pp. 396-403, and Note i, this chapter. 



45 La Fontaine, p. 161. 



46 Cf Chapter VI, 'Early Essays . . .'. 



47 Op. cit., pp. 334-360. Cf. our Chapter V, 'History as Science and Art'. 



48 Cf. our Chapter VI, 'Verification of Law'. 



49 Op. cit., II, 166-167. 



50 From Chapter XI V^, Biographia Literaria {Coleridge: Select Poetry & Prose, 

 p. 251). Contrast the spirit of Coleridge's statement with the following passage 

 from Taine: 'The relationship existing between art and science is as honourable 

 for the one as for the other; it is the glory of the latter to give to beauty its 

 principal adjuncts; it is the glory of the former to base its noblest structures on 

 the truth.' {Lectures, First Series, p. 201.) 



51 See, for example, the entries under 'Universal' in Greene {op. cit.); 

 essays by W. K. Wimsatt, Jr., 'The Structure of the "Concrete Universal" in 

 Literature', and Scott Elledge, 'English Criticism of Generality and Parti- 

 cularity'; and the chapter on 'Literary Genres' in Wellek and Warren {op. cit.), 

 which concludes: 'The subject of the genre, it is clear, raises central questions 

 for literary history and literary criticism and for their interrelation. It puts, in a 



