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(pleonasm); that in another the error arises from too few having been used (ellipse), elsewhere from the use of an unsuitable word (metaphor), or from the use of two words which seem to express two different things, where they really express the same thing (synonym); or that, on the contrary, it arises from having employed one which seems to express the same thing where it expresses two different things (equivoke). This pejorative and pathological use of the terms is, however, more uncommon than the preceding.

in a sense

æsthetic, in the


Finally, when rhetorical terminology possesses Their use no æsthetic signification similar or analogous to transcending those passed in review, and yet one is aware that service of it is not void of meaning and designates something that deserves to be noted, it is then used in the service of logic and of science. If it be granted that a concept used in a scientific sense by a given writer is expressed with a definite term, it is natural that other words formed by that writer as used to signify the same concept, or incidentally made use of by him, become, in respect to the vocabulary fixed upon by him as true, metaphors, synecdoches, synonyms, elliptic forms, and the like. We, too, in the course of this treatise, have several times made use of, and intend again to make use of such terms, in order

Rhetoric in the


to make clear the sense of the words we employ, or may find employed. But this proceeding, which is of value in the disquisitions of scientific and intellectual criticism, has none whatever in æsthetic criticism. For science there exist appropriate words and metaphors. The same concept may be psychologically formed in various circumstances and therefore be expressed with various intuitions. When the scientific terminology of a given writer has been established, and one of these modes has been fixed as correct, then all other uses of it become improper or tropical. But in the æsthetic fact exist only appropriate words. The same intuition can only be expressed in one way, precisely because it is an intuition and not a concept.

Some, while they admit the aesthetic insufficiency of the rhetorical categories, yet make a reserve as regards their utility and the service they are supposed to render, especially in schools of literature. We confess that we fail to understand how error and confusion can educate the mind to logical clearness, or aid the teaching of a science which they disturb and obscure. Perhaps it may be desired to say that they can aid memory and learning as empirical classes, as was admitted above for literary and artistic styles. But there

is another purpose for which the rhetorical categories should certainly continue to be admitted to the schools: to be criticized there. We cannot simply forget the errors of the past, and truth cannot be kept alive, save by making it fight against error. Unless a notion of the rhetorical categories be given, accompanied by a suitable criticism of these, there is a risk of their springing up again. For they are already springing up with certain philologists, disguised as most recent psychological discoveries.


It would seem as though we wished to deny The all bond of likeness among themselves between of expressions. expressions and works of art. The likenesses exist, and owing to them, works of art can be arranged in this or that group. But they are likenesses such as are observed among individuals, and can never be rendered with abstract definitions. That is to say, these likenesses have nothing to do with identification, subordination, co-ordination, and the other relations of concepts. They consist wholly in what is called a family likeness, and are connected with those historical conditions existing at the birth of the various works, or in an affinity of soul between the artists.

It is in these resemblances that lies the relative

The relative possibility of translations. This does not consist possibility of translations. of the reproduction of the same original ex

pressions (which it would be vain to attempt), but in the measure that expressions are given, more or less nearly resembling those. The translation that passes for good is an approximation which has original value as a work of art and can stand by itself.




PASSING on to the study of more complex concepts, where the aesthetic activity is found in conjunction with other orders of facts, and showing the mode of this union or complication, we find ourselves at once face to face with the concept of feeling and with the feelings which are called asthetic.

The word "feeling" is one of the richest in Various significations of the meanings. We have already had occasion to word feeling. meet with it once, among those used to designate the spirit in its passivity, the matter or content of art, and also as synonym of impressions. Once again (and then the meaning was altogether different), we have met with it as designating the non-logical and non-historical character of the æsthetic fact, that is to say pure intuition, a form of truth which defines no concept and states no fact.

But feeling is not here understood in either

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