A similar kind of classification is the one which gives rise to the literary genre, and to similar abstractions in the other arts: legitimate instruments of work as long as we do not forget that there does not exist anything like the idea of a tragedy or sonata apart from all concrete tragedies or sonatas, and as long as we do not condemn a new tragedy or a new sonata simply because it is not like the old ones, that is, as long as we do not transform an abstract type into a law. Every new æsthetic creation, far from being bound to obey external laws, establishes new laws, or rather is its own law. It must, and will, answer only for itself, and the only claim that we can put upon it is that of internal coherence. Both the theories of the arts and the theories of the genres, when we try to treat them as true and rigorous, and not as mere practical expedients, manifest the absurdity of their task through their incapacity to give precise and absolute definitions. Every work of art expresses a state of mind, and every state of mind is irreducibly individual and new: a complete classification would therefore be only that in which every class has under itself a single intuition. Another form of the technical prejudice is the creation of rhetorical categories, which are also abstract classes of expressions tending to transform themselves into precepts. The main prejudice of rhetoric, in literature as well as in all other arts, is that of the distinction between the simple and the ornate, which is founded on a conception of beauty not as the value of the expression, but as something that can be added, so to speak, mechanically, to the expression. Because of its preceptive character, rhetoric has done more harm in the history of poetry and art, than any of the other classifications of the same order; and though it is generally discredited among artists and critics to-day, in its pure original form, yet rhetorical prejudices, both in the creation and judgment of art, are still endowed with an obstinately vigorous life. These naturalistic classifications in art have their counterpart in the study of language, in the creation of grammatical genres or categories or parts of speech, and in the attempts to reduce the empirical grammars to preceptive or normative grammars: that is, a practical or pedagogic expedient, to a rhetoric or technique of language. But the individuality and indivisibility of expression is in the nature of language as well as of art, and language obeys not the abstract precepts of grammarians, but the law of the æsthetic spirit which makes us find a new expression for every new intuition. Even phonetic laws, the modern scientific instruments of grammar, are mere descriptive summaries of observed facts, of physical moments abstracted from their spiritual reality, and therefore abstract or naturalistic laws, and never actually represent the concrete, individually determined facts of language.