 Lopes’s choice of example is not arbitrary. There are particular art-critical reasons for thinking that Chardins will frustrate the hedonically motivated viewer (Fried 1980, 92; cited in Lopes 2018, 85), and Lopes is careful to claim that only “some aesthetic pleasures are essential by-products of acts motivated by other considerations” (Lopes 2018, 85). But it’s not as if Lopes’s claim is specific to Chardins. Consider again Wolf’s assertation that most readers take greater pleasure from The Da Vinci Code than from Middlemarch. If that assertion is correct, as it plausibly is, perhaps this is because (a) most readers read for pleasure, and (b) The Da Vinci Code affords pleasure to readers who read for it, whereas (c) Middlemarch withholds pleasure from such readers, affording pleasure instead on readers who read in pursuit of some non-hedonic good.