110 
of the end they have in view”; but that the end to which 
this impulse really leads is the attraction of other persons 
by pleasing them. It follows, therefore, that a work of 
art is to be estimated according to the pleasure it pro- 
duces, or, as the author himself expresses it: ** Vhat 
object is to be considered beautiful which produces a 
psychosis that is permanently pleasurable in revival. 
Each pleasure may form an element of impression in an 
esthetic complex; but only those pleasures are judged to 
be esthetic which (relatively speaking) are permanently 
pleasurable in memory. We are led also to the 
further conclution that that object is to be considered 
ugly which produces a psychosis that is permanently dis- 
agreeable in revival” (p. 110). The pleasure which the 
beautiful object produces may be of any kind that has the 
quality referred to—that of being permanent in revival; 
and consequently men’s judgments about what is beautiful 
will vary according to the kind of pleasure they most 
enjoy, or, in the author’s words: ‘‘ for each person the 
zesthetic field to which he refers in making judgments as 
to beauty is his relatively permanent pleasure-field of 
revival.” From this theory it follows that the aim of the 
artist in his work should be to produce as great and as 
varied pleasures as possible unaccompanied by pain. 
Now that the end at which art aims, or at least one of 
its ends, is what Aristotle called ‘‘noble pleasure” will 
be admitted by all, and the pleasures it produces are 
undoubtedly of the kind that Mr. Marshall refers to, but 
is it correct to say that all the pleasures that a work of 
art produces are due to its beauty? It seems to us, 
rather, that the pleasures produced by beauty are of a 
special kind, and that many of the pleasures that we 
experience in contemplating a work of art are due to 
other qualities than its beauty. A religious song, for 
SQUWENC!s, 
Vol. XXIII. No. 577 
instance, may awaken religious emotion, and a patriotic 
song may awaken patriotic emotion, but these pleasures 
appear to be quite different from that produced in both 
cases by the beauty of the song, and it is obviously 
possible to have either of the former feelings when no 
beautiful object is present. Mr. Marshall’s art theory, 
howeyer, contains much that is true and valuable, and is 
worthy of attention from both artists and psychologists. 
A Standard Dictionary of the English Language. Vol. 1., 
quarto. New York, Funk and Wagnalls Company. ~- 
Tue preparation of this dictionary was begun nearly 
four years ago, and it is expected that the work will be 
completed by the issue of the second volume in June of 
the present year. The editor-in-chief is Dr. Isaac K. 
Funk, the head of the firm that publishes it; the managing 
editor is Dr. D. S. Gregory, who has also had _ special 
charge of the definitions in philosophy and theology. 
Professor F. A. March has had charge of the spelling and 
pronunciation; and there have been, besides these, 
several assistant editors and many writers on special topics. 
The dictionary, when completed, will contain two hundred 
and eighty thousand words, which is a much larger 
number than is found in any other English dictionary, the 
Century Dictionary having only two hundred and twenty- 
five thousand, and other dictionaries a still smaller number. 
The dictionary will be issued in two volumes of over a 
thousand pages each, and also in a single volume; and it 
seems likely to take a prominent place among the word- 
books of the English language. 
The dictionary has certain distinguishing features, some 
of which, we believe, are entirely original, and are deemed 
by the editors decided improvements. The most prom- 
inent of these, and the one on which the most stress is 
laid, is the practice of giving the most common meaning 
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