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. [Sidenote] _The resemblances of expressions._ It would seem as though we wished to deny all bond of likeness among themselves between 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. [Sidenote] _The relative possibility of translations._ It is in these resemblances that lies the _relative_ possibility of translations. This does not consist of the reproduction of the same original expressions (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. X AESTHETIC FEELINGS AND THE DISTINCTION BETWEEN THE UGLY AND THE BEAUTIFUL 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 _aesthetic_. [Sidenote] _Various significances of the word feeling._