الفهرس 
1- INTRODUCTIONOnly 14 pages are availabe for public view
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Abstract
since I9~-2- the year of writingllr.rlle 802, EUlcl the l·.Iirro¥ll_,i t<brbr>
As for the function of ~rt Auden’s attitude is one of a modernist. In point of the relationship of art to socie’~y he agrees with the modern idea of cul tU.i~e tha.t the art of a period is necessarily related to the prevalent way of life. He believes thet the kind of art produced in a society depends on the kind of culture that society has; a view tha.t
is slightly Elodified v:1:len he COil18S to beliove t,’lat the rele-tion is sonevv”ha.t dielectic8.1 that Vie cannot stipulate that a certC:’in kind of society must necessarily produce a certein kind of
art.
Then we find a strange eombin~tion of two contradictory views; one respects the autonoillY of art valile the second sees that art is frivolous ffi~d unimpoxtent to life. But th0 t~o vievvs have the one end which is to Save art from the servility of all kinds of propagEnda.
Auden is also keen on separa.ting art from politics. He sees that there is an unhappy relation betv/een the artist and modern governments; the tyranc v/ho tries to prostitute hiLl.
He also draTIs sharp dichotomy between the artist aud the politicifn; the essential difference being that the artist is a ffie.ker while the pol~-cici2n is a Elan of action. But it can be said, hovlever, t:lat although Aud.e~l is so hostile e.gainsJ~ politics his mere concern about the problem finds him out.
As for the relation of the artist to t.L~e public Auden always s’cresses itb intimate nature and emphasizes that the artist is to address himself to the individual not to the collective. He also sees the.t modern circul1lstences are not favour2ble to any at’cempt to address the majority since the