Ruskin thought there was. So did Mill. That's the purpose of my examples.
Ruskin also had some serious sexual hang-ups (among other mental issues) that would seemingly make him an unreliable source.
It's not that there's a causal link between reading and actions, but rather that by reading there is an effect, which in simple terms does you good and is more or less so proven.
Nobody has ever denied that Sigismondo Malatesta, the Lord of Rimini, had excellent taste. He hired the most refined of quattrocentro architects, Leon Battista Alerti, to design a memorial temple to his wife, and then got the sculptor Agostino di Duccio to decorate it, and retained Piero della Francesca to paint it. Yet Sigismondo was a man of such callousness and rapacity that he was known in his life as Il Lupo, the Wolf, and so execrated after his death that the Catholic church made him (for a time) the only man apart from Judas Iscariot officially listed as being in Hell—a distinction he earned by trussing up a papal emissary, the fifteen-year-old Bishop of Fano, in his own rochet and publicly sodomizing him before his applauding army in the main square of Rimini.
-Robert Hughes- Art, Morals, and Politics
It is but wishful thinking to suppose that the appreciation of the finest art, music, and literature will result in producing an individual of high moral or ethical values. Of course this was the belief of many late 19th century artists and thinkers... Ruskin included. Unfortunately, history suggests otherwise. Hitler certainly had immaculate taste when it came to music: he loved Wagner and Mozart; his favorite living composer was Richard Strauss; his favorite conductor was Wilhelm Furtwangler; his favorite soprano was Elizabeth Schwarzkopf... fine choices all. But none of this served to turn him into a high-minded, moral individual.
I'm talking about that innovative (if horribly racist and ultimately evil) DW Griffiths film which Woodrow Wilson called "lightning in a bottle" and helped spark the second rise of the KKK. o_o It was a great work of art in the service of an absolutely evil cause.
I knew fully well what you were referring to... which is why I offered Leni Riefenstahl... film-maker to the Nazi's... as an example of film perhaps even more morally tainted.
Now if moral truths can be gained from Literature it would almost inescapably follow that moral worth is important when we evaluate particular writers. It therefore might be considered important if a particular writer llived in a way which was seen to be untrustworthy.
The key word in this first sentence is CAN: Moral truths CAN be gained from literature. Moral truth is not the goal of all literature. Moral truths vary from individual to individual... in which case Oscar Wilde seems ever more prescient:
The artist is the creator of beautiful things.
To reveal art and conceal the artist is art's aim.
The critic is he who can translate into another manner or a new material his impression of beautiful things.
The highest as the lowest form of criticism is a mode of autobiography.
There is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.
The moral life of man forms part of the subject-matter of the artist, but the morality of art consists in the perfect use of an imperfect medium.
All art is at once surface and symbol.
Those who go beneath the surface do so at their peril.
Those who read the symbol do so at their peril.
It is the spectator, and not life, that art really mirrors.
All art is quite useless.
I agree with Harold Bloom who suggested that these words should be carved over the entrance archways to every university literature campus.



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