Thus it would seem that if the report of his personal reactions to a work of literary art is the intention of the impressionist, and its explanation that of the scientist, the purpose of the appreciative critic is fairly named as the illuminating and interpreting reproduction of that work, from material furnished by those other forms of critical activity. Must, then, the method of appreciation, as combining and reconciling the two opposed views, forthwith claim our adherence? To put to use all the devices of science and all the treasures of scholarship for the single end of imaginative interpretation, for the sake of giving with the original melody all the harmonies of subtle association and profound meaning the ages have added, is, indeed, a great undertaking. But is it as valuable as it is vast? M. Brunetiere has poured out his irony upon the critics who believe that their own reactions upon literature are anything to us in the presence of the works to which they have thrilled. May it not also be asked of the interpreter if its function is a necessary one? Do we require so much enlightenment, only to enjoy? Appreciative criticism is a salt to give the dull palate its full savor; but what literary epicure, what real boo-lover, will acknowledge his own need of it? If the whole aim of appreciative criticism is to reproduce in other arrangement the contents, expressed and implied, and the emotional value, original and derived, of a piece of literature, the value of the end, at least to the intelligent reader, is out of all proportion to the laboriousness of the means. Sing, reading's a joy! For me, I read. But a feeling of this kind is, after all, not a reason to be urged against the method. The real weakness of appreciative criticism lies elsewhere. It teaches us to enjoy; but are we to enjoy everything? Since its only aim is to reveal the "intricate implications" of a work of art; since it offers, and professes to offer, no literary judgments,--having indeed no explicit standard of literary value,--it must, at least on its own theory, take its objects of appreciation ready-made, so to speak, by popular acclaim. It possesses no criterion; it likes whate'er it looks on; and it can never tell us what we are not to like. That is unsatisfactory; and it is worse,-- it is self-destructive. For, not being able to reject, appreciation cannot, in logic, choose the objects of its attention. But a method which cannot limit on its own principles the field within which it is to work is condemned from the beginning; it bears a fallacy at its core. In order to make criticism theoretically possible at all, the power to choose and reject, and so the pronouncing of judgment, must be an integral part of it.