Abstract
The scandalous confusion of contemporary aesthetic theory is not without its honourable side: it rises largely from the stubborn attempt to do justice to all the facts. A carpet, a joke, a triumphal arch, a procession, a gown, a garden, a psalm, an aeroplane, a fairytale, as well as a statue, painting, poem, or symphony, are proper objects for aesthetic reflection. And how could any theory be stretched to include them all without splitting, or, alternatively, becoming harmlessly inane?
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