This essay argues that the ethical criticism of art is a proper and legitimate aesthetic activity. More precisely, it defends a view I term ethicism. Ethicism is the thesis that the ethical assessment of attitudes manifested by works of art is a legitimate aspect of the aesthetic evaluation of those works, such that, if a work manifests ethically reprehensible attitudes, it is to that extent aesthetically defective, and if a work manifests ethically commendable attitudes, it is to that extent aesthetically meritorious.

This thesis needs elucidation. The ethicist principle is a pro tanto one: it holds that a work is aesthetically meritorious (or defective) insofar as it manifests ethically admirable (or reprehensible) attitudes. (The claim could also be put like this: manifesting ethically admirable attitudes counts toward the aesthetic merit of a work, and manifesting ethically reprehensible attitudes counts against its aesthetic merit.) The ethicist does not hold that manifesting ethically commendable attitudes is a necessary condition for a work to be aesthetically good: there can be good, even great, works of art that are ethically flawed. Examples include Wagner's Ring Cycle, which is marred by the anti-Semitism displayed in the portrayal of the Nibelungen; some of T. S. Eliot's poems, such as Sweeney among the Nightingales, which are similarly tainted by anti-Semitism; and Leni Riefenstahl's striking propaganda film, The Triumph of the Will, deeply flawed by its craven adulation of Hitler.