“It is this omnipresent flavour of feel that makes bad inventions so mawkish and suffocating, and good ones so tonic. The good ones allow us temporarily to share a sort of passionate sanity. And we may also—which is less important—expect to find in them many psychological truths and profound, at least profoundly felt, reflections. But this comes to us, and was very possibly called out of the poet, as the ‘spirit’ . . . of a work of art, a play. To formulate it as a philosophy, even if it were a rational philosophy, and regard the actual play as primarily a vehicle for that philosophy, is an outrage to the thing the poet has made for us” (C.S. Lewis, An Experiment in Criticism, p. 82).
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