We need to make, therefore, a hard-and-fast distinction not only between work and play but, equally, between active play and passive entertainment. It is, I suppose, the decline of active play of amateur sport and the enormous growth of purely receptive entertainment which has given rise to a sociological interest in the problem. If the greater part of the population, instead of indulging in sport, spend their hours of leisure viewing television programmes, there will inevitably be a decline in health and physique. And, in addition, there will be a psychological problem, for we have yet to trace the mental and moral consequences of a prolonged diet of sentimental or sensational spectacles on the screen. There is, if we are optimistic, the possibility that the diet is too thin and unnourishing to have much permanent effect on anybody. Nine films out of ten seem to leave absolutely no impression on the mind or imagination of those who see them: few people can give a coherent account of the film they saw the week before last, and at longer intervals they must rely on the management to see that they do not sit through the same film twice.
We have to live art if we would be affected by art. We have to paint rather than look at paintings, to play instruments rather than go to concerts, to dance and sing and act ourselves, engaging all our senses in the ritual and discipline of the arts. Then something may begin to happen to us: to work upon our bodies and our souls.
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