Abstract

My object here is to try to make the idea of moral criticism, and its foundation, moral art, sound at least a trifle less outrageous than it does at present. I'd like to explain why moral criticism is necessary and, in a democracy, essential; how it came about that the idea of moral criticism is generally hoo-hooed or spat upon by people who in other respects seem moderately intelligent and civil human beings; and that the right kind of moral criticism is, or should be. Partly this involves explaining why sophisticated modern free society tends to be embarrassed by the whole idea of morality and by all its antique, Platonic- or scholastic-sounding manifestations: Beauty, Goodness, Truth. In other words, it involves, partly, explaining how perverse and false philosophers, and educated but sequacious mind, obscuring truths once widely acknowledged; and partly it involves sketching out a way of thinking that might supplant the cowardly Laodicean habits into which American intellectuals have in recent times fallen. John Gardner, novelist, poet, and essayist, has received the National Book Critics Circle Award for his latest novel, October Light. His other popular works of fiction include Grendel, The Sunlight Dialogues, and the book-length poem, Jason and Medeia. He has, as well, prepared modern versions of the Gawain poems, an alliterative Morte Arthure and five other Middle English poems and written The Construction of the Wakefield Cycle, The Poetry of Chaucer, and the biography, The Life and Times of Chaucer. "Death by Art" is the first chapter of a book concerned with morality in literature