Some, while admitting the æsthetic non-existence of the rhetorical categories, yet make a reservation as to 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 distinction, or aid the teaching of a science which they disturb and obscure. Perhaps what is meant is that such distinctions, as empirical classes, can aid memory and learning, as was admitted above for literary and artistic kinds. To this there is no objection. There is certainly another purpose for which the rhetorical categories should continue to appear in schools: to be criticized there. The errors of the past must not be forgotten and no more said, and truths cannot be kept alive save by making them combat errors. Unless an account of the rhetorical categories be given, accompanied by a criticism of them, there is a risk of their springing up again, and it may be said that they are already springing up among certain philologists as the latest _psychological_ discoveries. [Sidenote: _The resemblances of expressions._] It might seem that we thus wished to deny all bond of resemblance between different expressions and works of art. Resemblances exist, and by means of 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 determinations. That is to say, it would be incorrect to apply identification, subordination, co-ordination and the other relations of concepts to these resemblances, which consist wholly of what is called a _family likeness,_ derived from the historical conditions in which the various works have appeared and from relationship of soul among the artists. [Sidenote: _The relative possibility of translations._] It is in these resemblances that lies the _relative_ possibility of translations; not as reproductions of the same original expressions (which it would be vain to attempt), but as productions of _similar_ expressions more or less nearly resembling the originals. The translation called good is an approximation which has original value as a work of art and can stand by itself. X ÆSTHETIC FEELINGS AND THE DISTINCTION BETWEEN THE BEAUTIFUL AND THE UGLY [Sidenote: _Various significations of the word feeling._] Passing to the study of more complex concepts, where the æsthetic activity is to be considered in conjunction with other orders of facts, and showing the mode of their union or complication, we find ourselves first face to face with the concept of _feeling_ and with those feelings that are called _æsthetic._