But setting aside these scientific monstrosities, already condemned by the constant attitude of restraint and scepsis toward them on the part of all scientifically trained minds--condemned, too, by the very fact that they have had to seek and have found their fortune at the hands of the crowd or 'great public,' and have fallen to the rank of popular propaganda--we must here determine more precisely how these classificatory schemes of historiographical appearance are formed and how they operate. With this object, it is well to observe that classificatory schemes and apparent histories do not appear to be confined to the field of what are called the natural sciences or sub-human world, but appear also in that of the moral sciences or sciences of the human world. And to adduce simple and perspicuous examples, it often happens that in the abstract analysis of language and the positing of the types of the parts of speech, noun, verb, adjective, pronoun, and so on, or in the analysis of the word into syllables and sounds, or of style into proper or metaphorical words and into various classes of metaphors, we construct classes that go from the more simple to the more complex. This gives rise to the illusion of history of language, exposed as the successive acquisition of the various parts of speech or as the passage from the single sound to the syllable (monosyllabic languages), from the syllable to the aggregate of syllables (plurisyllabic languages), from words to propositions, metres, rhymes, and so on. These are imaginary histories that have never been developed elsewhere than in the studies of scientists. In like manner, literary styles that have been abstractly distinguished and arranged in series of increasing complexity (for example, lyric, epic, drama) have given rise and continue to give rise to the thought of a schematic arrangement of poetry, which, for example, should appear during a first period as lyric, a second as epic, a third as drama.