It is probable that few critics, if directly challenged, would admit to believing that a work of literature which was, in some sense, morally objectionable was therefore necessarily totally lacking in literary merit. Nevertheless, it is not uncommon for a man—in the language he uses, in the conclusions he draws, in his obiter dicta—to seem yet to hold a view which, in its bald statement, he has denied. Certainly, those critics who most vehemently wish to dissociate themselves from any claims that art exists for art's sake, or that there are peculiarly ‘aesthetic’ criteria, and who believe that such claims lead to irresponsibility, such critics often use moral concepts extensively in their criticism. Furthermore, they often do this in such a way as to suggest that if a work is morally objectionable, then there is no way of redeeming it aesthetically; for, it would seem, moral criticism exhausts the critical possibilities; no aesthetic saving graces are allowed.