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 doesn't it; you see now, clearly, what I mean by saying that the power of producing an emotional shock cannot be a test of fine literature. Art must appeal to emotion, and sometimes, no doubt, with a shock; but it must always be to the emotion of the left-hand column, never to the "feelings" on the right hand. So you must never tell me that a book is fine art because it made you, or somebody else, cry; your tears are, emphatically, not evidence in the court of Fine Literature.

I daresay it may have struck you that the tests we have considered hitherto have been, in the main, popular tests. No doubt many persons calling themselves critics have praised the art of a book because it has drawn tears from eyes, or because it has not suffered itself to be put down, or because it contains easily recognisable portraits of well-known people, but such critics are to be spelt with a very small initial letter, and, as I said, I don't think we want to extend that list of parallels. There is another test that I had forgotten: I suppose there really are people who believe that a book is fine "because it will do good," but I don't think we'll argue with them, though I