EVERY now and then, a sense of the futility of their daily endeavors falling suddenly upon them, the critics of Christendom turn to a somewhat sour and depressing consideration of the nature and objects of their own craft. That is to say, they turn to criticizing criticism. What is it in plain words? What is its aim, exactly stated in legal terms? How far can it go? What good can it do? What is its normal effect upon the artist and the work of art?
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