ABSTRACT
The previous chapter extended the discussion of aesthetic criticism by presenting six samples of critical writing. These were chosen to provide acquaintance not only with instances of criticism in action but also with some of the kinds of subsidiary interests--cognitive, moral, psychological-that critics often marshal toward their primary task: elucidating the work of art as art. I pointed to the secondary emphases found in much of criticism not as a suggestion that aesthetic educators try to emulate such sophistication and learnedness in their own teaching but to indicate what can be discovered in the critical literature when it is perused for examples and inspiration.
