This is a table of type quadgram and their frequencies. Use it to search & browse the list to learn more about your study carrel.
quadgram | frequency |
---|---|
that is to say | 91 |
in so far as | 71 |
on the other hand | 51 |
the nature of the | 33 |
so far as it | 29 |
at the same time | 26 |
the work of art | 24 |
a work of art | 24 |
the theory of the | 23 |
sidenote critique of the | 23 |
of the radical element | 23 |
that there is a | 22 |
in the same way | 21 |
so far as they | 20 |
be looked upon as | 20 |
it is impossible to | 20 |
the parts of speech | 19 |
in the history of | 19 |
the meaning of the | 18 |
of the theory of | 18 |
far as it is | 17 |
the point of view | 17 |
at the end of | 16 |
whom did you see | 16 |
of the nature of | 16 |
of the aesthetic fact | 16 |
may be said to | 16 |
critique of the theory | 15 |
artistic and literary history | 15 |
the end of the | 15 |
as a matter of | 14 |
a matter of fact | 14 |
the aesthetic of the | 14 |
it is necessary to | 14 |
in respect to the | 13 |
of artistic and literary | 13 |
nothing to do with | 13 |
it is clear that | 13 |
by the use of | 13 |
in the first place | 13 |
of the human mind | 13 |
point of view of | 13 |
footnote refers to the | 13 |
to the paragraph beginning | 12 |
in the course of | 12 |
of space and time | 12 |
the true nature of | 12 |
what do you say | 12 |
far as they are | 12 |
for the most part | 12 |
i should like to | 12 |
parts of speech are | 12 |
to do with the | 12 |
of the origin of | 12 |
is one of the | 12 |
paragraph beginning on line | 12 |
refers to the paragraph | 12 |
it is true that | 12 |
the history of the | 12 |
the paragraph beginning on | 12 |
the organs of speech | 12 |
be said to be | 11 |
of the natural sciences | 11 |
to say that the | 11 |
in the form of | 11 |
for the first time | 11 |
in the sense of | 11 |
the difference between the | 11 |
that it is not | 11 |
the doctrine of the | 11 |
the language of the | 11 |
a large number of | 11 |
as i was saying | 11 |
the unity of the | 10 |
but it is not | 10 |
is the same as | 10 |
the same way as | 10 |
one of the most | 10 |
that there is no | 10 |
to the nature of | 10 |
the philosophy of the | 10 |
state of the soul | 9 |
meaning of the word | 9 |
so far as he | 9 |
it is possible to | 9 |
as the science of | 9 |
with the help of | 9 |
in the case of | 9 |
the nature of things | 9 |
the origin of language | 9 |
the distinction between the | 9 |
from the point of | 9 |
a great deal of | 9 |
to the extent that | 9 |
the problem of the | 9 |
of the history of | 9 |
not in the least | 9 |
as well as the | 9 |
it is not a | 9 |
is not to be | 9 |
aesthetic of the sympathetic | 9 |
but this does not | 9 |
to the expression of | 9 |
the science of the | 9 |
the existence of a | 9 |
the same as the | 9 |
it is customary to | 9 |
is the meaning of | 9 |
there can be no | 8 |
in the eighteenth century | 8 |
do you say of | 8 |
and what is the | 8 |
the manner in which | 8 |
one and the same | 8 |
the rest of the | 8 |
the question of the | 8 |
as to the nature | 8 |
the concept of the | 8 |
the fact that the | 8 |
the beautiful and the | 8 |
philosophy of the spirit | 8 |
of the aesthetic activity | 8 |
in the use of | 8 |
the position of the | 8 |
that we do not | 8 |
have nothing to do | 8 |
science of the spirit | 8 |
the greater part of | 8 |
what do you mean | 8 |
artistic and literary classes | 8 |
the use of the | 8 |
the reproduction of the | 8 |
of the parts of | 8 |
may be said of | 8 |
to be found in | 8 |
the art of the | 7 |
it is well to | 7 |
with a view to | 7 |
it is a question | 7 |
and there are many | 7 |
as we have seen | 7 |
the expression of the | 7 |
the history of language | 7 |
the name of the | 7 |
there would be no | 7 |
the expression of a | 7 |
the theory of aesthetic | 7 |
it will not be | 7 |
in a number of | 7 |
does not belong to | 7 |
may be looked upon | 7 |
we have already seen | 7 |
who did you see | 7 |
the form of the | 7 |
of a language is | 7 |
of a number of | 7 |
the aesthetic fact is | 7 |
the quality of the | 7 |
we have seen that | 7 |
this does not mean | 7 |
of the beautiful and | 7 |
looked upon as a | 7 |
it goes without saying | 7 |
the same may be | 7 |
that it does not | 7 |
it is important to | 7 |
but we must not | 7 |
in the sphere of | 7 |
one or the other | 7 |
is said to be | 7 |
precisely because it is | 7 |
the nature of art | 7 |
of the theoretic spirit | 7 |
the work of the | 7 |
of the work of | 7 |
with that of the | 7 |
half of the nineteenth | 7 |
to which we have | 7 |
i should say that | 7 |
in a state of | 7 |
been looked upon as | 7 |
such as those of | 7 |
we do not know | 7 |
of view of the | 7 |
of the english language | 7 |
the independence of art | 7 |
the two forms of | 7 |
into the nature of | 7 |
same may be said | 7 |
of the human body | 7 |
it may be said | 6 |
under the influence of | 6 |
the place of the | 6 |
it would be a | 6 |
which is the aesthetic | 6 |
face to face with | 6 |
not belong to the | 6 |
a more or less | 6 |
position in the sentence | 6 |
the most important of | 6 |
and the image of | 6 |
of the names of | 6 |
the verb to be | 6 |
the english language is | 6 |
in accordance with the | 6 |
the genius of the | 6 |
it is evident that | 6 |
for the expression of | 6 |
in relation to the | 6 |
the form of a | 6 |
any one of the | 6 |
of the human race | 6 |
the theory of artistic | 6 |
the subject and object | 6 |
is that which is | 6 |
forms of the beautiful | 6 |
sentence as a whole | 6 |
be found in the | 6 |
the origin of art | 6 |
the history of aesthetic | 6 |
theory of artistic and | 6 |
may or may not | 6 |
in the life of | 6 |
the impression of the | 6 |
is a kind of | 6 |
be said to have | 6 |
goes without saying that | 6 |
the name of a | 6 |
does not mean that | 6 |
to have been the | 6 |
in and pull out | 6 |
if i am not | 6 |
there is but one | 6 |
in the world of | 6 |
the imitation of nature | 6 |
is the expression of | 6 |
looked upon as the | 6 |
there is no reason | 6 |
is a question of | 6 |
of the problem of | 6 |
that which is not | 6 |
the first of these | 6 |
neither beautiful nor ugly | 6 |
the useful and the | 6 |
a state of the | 6 |
i do not think | 6 |
the limits of the | 6 |
the names of the | 6 |
of the unity of | 6 |
of the nineteenth century | 6 |
an indian language of | 6 |
the nature of language | 6 |
of works of art | 6 |
so far as to | 6 |
in such a manner | 6 |
the sentence as a | 6 |
the image of the | 6 |
in the work of | 6 |
the application of the | 6 |
the languages of the | 6 |
philosophy of the practical | 6 |
has nothing to do | 6 |
second half of the | 6 |
that the world is | 6 |
and this is the | 6 |
is by no means | 6 |
for the sake of | 6 |
all things are in | 6 |
put in and pull | 6 |
be true or false | 6 |
is the opposite of | 6 |
of the philosophy of | 6 |
of the word is | 6 |
the concept of a | 6 |
the end of art | 5 |
of which we have | 5 |
at the expense of | 5 |
on the analogy of | 5 |
were at one time | 5 |
as we pass from | 5 |
of the imitation of | 5 |
the correctness of names | 5 |
the laws of language | 5 |
such a word as | 5 |
what has already been | 5 |
on the one hand | 5 |
the perception of the | 5 |
of art and of | 5 |
it seems to me | 5 |
in which they are | 5 |
that make up the | 5 |
of which they are | 5 |
the second half of | 5 |
for the same reason | 5 |
of language is not | 5 |
to the world of | 5 |
of the last century | 5 |
it does not follow | 5 |
as has already been | 5 |
is the art of | 5 |
modify the significance of | 5 |
that it is impossible | 5 |
to that of the | 5 |
that we are not | 5 |
that we have not | 5 |
and in so far | 5 |
concepts of group ii | 5 |
with which we are | 5 |
what is the meaning | 5 |
does not follow that | 5 |
but what is the | 5 |
the truth is that | 5 |
the first part of | 5 |
when they are not | 5 |
the same as that | 5 |
the son of a | 5 |
in the first instance | 5 |
as a means of | 5 |
the life of the | 5 |
fire in the house | 5 |
form of the verb | 5 |
in the field of | 5 |
we shall have to | 5 |
possess the power to | 5 |
is the case with | 5 |
of american indian languages | 5 |
of which it is | 5 |
one and the other | 5 |
to be derived from | 5 |
in which it is | 5 |
the general drift of | 5 |
but he does not | 5 |
of the limits of | 5 |
the spirit of the | 5 |
to me to be | 5 |
from the failure to | 5 |
is to be found | 5 |
to show that the | 5 |
if it be not | 5 |
in the one case | 5 |
of the end of | 5 |
the problem of art | 5 |
form of the spirit | 5 |
a philosophy of history | 5 |
and what are the | 5 |
greater part of the | 5 |
looked upon it as | 5 |
use of the word | 5 |
is the name of | 5 |
of the human spirit | 5 |
for the purpose of | 5 |
things are in motion | 5 |
the one and the | 5 |
is it to be | 5 |
by means of the | 5 |
only in so far | 5 |
should like to know | 5 |
the giver of the | 5 |
the idea of plurality | 5 |
the knowledge of the | 5 |
the mind of the | 5 |
it is ideally superior | 5 |
the existence of an | 5 |
in the place of | 5 |
the study of the | 5 |
and when we have | 5 |
the works of art | 5 |
one or more of | 5 |
to the first of | 5 |
in the theory of | 5 |
the vast majority of | 5 |
to this or that | 5 |
expression in the naturalistic | 5 |
in the direction of | 5 |
it is different with | 5 |
a group of languages | 5 |
right in saying that | 5 |
the cries of animals | 5 |
work of art is | 5 |
the philosophy of language | 5 |
the criterion of progress | 5 |
in such a way | 5 |
one with the other | 5 |
which is the most | 5 |
which we have referred | 5 |
in the middle age | 5 |
the search for the | 5 |
to the doctrine of | 5 |
in the aesthetic of | 5 |
of the beauty of | 5 |
may be expressed by | 5 |
the way in which | 5 |
fires in the house | 5 |
art and of the | 5 |
between the theoretic and | 5 |
the theoretic and the | 5 |
the beautiful as the | 5 |
is to be understood | 5 |
it is not necessary | 5 |
theoretic and the practical | 5 |
of the eighteenth century | 5 |
so called apo tou | 5 |
elementary forms of the | 4 |
it is difficult to | 4 |
the man of taste | 4 |
forms of the verb | 4 |
the thought of the | 4 |
we pass from the | 4 |
with the concept of | 4 |
of this or that | 4 |
in the naturalistic sense | 4 |
as we shall see | 4 |
to the sphere of | 4 |
of the expression of | 4 |
the practical activity of | 4 |
elements by means of | 4 |
i am not mistaken | 4 |
used as a predicant | 4 |
of the characteristics of | 4 |
side by side with | 4 |
is at the same | 4 |
to each other as | 4 |
it is not the | 4 |
is probably the most | 4 |
from the fact that | 4 |
the letter rho accent | 4 |
language as a historical | 4 |
names of the gods | 4 |
in the nineteenth century | 4 |
drift of the language | 4 |
is based on the | 4 |
the life of language | 4 |
if it were not | 4 |
on the nature of | 4 |
of the organs of | 4 |
the origin and nature | 4 |
is to make a | 4 |
which we have already | 4 |
upon the nature of | 4 |
is true of the | 4 |
in the preceding chapter | 4 |
of speech are undifferentiated | 4 |
to the study of | 4 |
and of the ugly | 4 |
the radical element of | 4 |
to be in the | 4 |
there is still a | 4 |
upon it as a | 4 |
used as intransitive verbs | 4 |
is found in the | 4 |
have no reason to | 4 |
of the relations between | 4 |
let us begin with | 4 |
the analogy of the | 4 |
of that which is | 4 |
in the former case | 4 |
be used as a | 4 |
in like manner with | 4 |
is the nature of | 4 |
by means of affixes | 4 |
what is the nature | 4 |
is nothing but the | 4 |
first part of the | 4 |
or more of the | 4 |
the pleasure of art | 4 |
as far as they | 4 |
between the useful and | 4 |
on the same principle | 4 |
the great majority of | 4 |
the nature of a | 4 |
what we now call | 4 |
the spirit of man | 4 |
the relations between the | 4 |
the soul of the | 4 |
who knows how to | 4 |
the tone of the | 4 |
this would be the | 4 |
of the process of | 4 |
is the place of | 4 |
each language has its | 4 |
amounts to saying that | 4 |
and that which is | 4 |
but what do you | 4 |
in the speech of | 4 |
is going to deliver | 4 |
significance of their radical | 4 |
that they are not | 4 |
into the history of | 4 |
cannot be said to | 4 |
of latin and greek | 4 |
what is true of | 4 |
may be used as | 4 |
languages in which the | 4 |
in latin and greek | 4 |
is apt to be | 4 |
of the same kind | 4 |
the activity of externalization | 4 |
son of a king | 4 |
a great number of | 4 |
power to modify the | 4 |
is shown by the | 4 |
the value of the | 4 |
manner in which the | 4 |
should like to hear | 4 |
in artistic and literary | 4 |
let me ask you | 4 |
beautiful and the ugly | 4 |
in a work of | 4 |
of science and of | 4 |
is as good as | 4 |
is ideally superior to | 4 |
in the habit of | 4 |
it will always be | 4 |
the power to modify | 4 |
the power of the | 4 |
to be able to | 4 |
have the right to | 4 |
to make clear the | 4 |
to be understood as | 4 |
that art is not | 4 |
it is to be | 4 |
that which is called | 4 |
of a single concept | 4 |
distinction between the useful | 4 |
the consciousness of the | 4 |
by the fact that | 4 |
it seems to be | 4 |
of poetry and of | 4 |
the science of language | 4 |
it is only in | 4 |
the spiritual activity of | 4 |
the beauty of the | 4 |
those which are expressive | 4 |
the deaf and dumb | 4 |
of the man of | 4 |
reason to believe that | 4 |
have been able to | 4 |
on the first syllable | 4 |
to serve as a | 4 |
and if it be | 4 |
we are likely to | 4 |
by the position of | 4 |
as is the case | 4 |
the first of the | 4 |
of the fact that | 4 |
have already seen that | 4 |
and expression in the | 4 |
or correctness of names | 4 |
other parts of speech | 4 |
part of the radical | 4 |
words to each other | 4 |
are made up of | 4 |
which is the same | 4 |
the elements of speech | 4 |
their radical elements by | 4 |
this amounts to saying | 4 |
the aesthetic fact as | 4 |
insight into the nature | 4 |
to the history of | 4 |
that the history of | 4 |
genius of the language | 4 |
method of artistic and | 4 |
it is doubtful if | 4 |
in the order of | 4 |
from the confusion between | 4 |
to which they are | 4 |
related to each other | 4 |
the truth of the | 4 |
is the truth of | 4 |
of the activity of | 4 |
on the part of | 4 |
are neither beautiful nor | 4 |
practical activity of externalization | 4 |
in the formation of | 4 |
between the beautiful and | 4 |
may be supposed to | 4 |
but it is a | 4 |
that he is not | 4 |
to a large extent | 4 |
is that it is | 4 |
the science of aesthetic | 4 |
the theory of art | 4 |
or judgments of value | 4 |
as there is no | 4 |
according to this view | 4 |
is true that the | 4 |
the reason for this | 4 |
burning in the house | 4 |
perception of the real | 4 |
the beautiful and of | 4 |
the image of cratylus | 4 |
one of the two | 4 |
in spite of the | 4 |
of affixes or internal | 4 |
more nor less than | 4 |
of the practical activity | 4 |
is a foreign word | 4 |
and when they are | 4 |
for the time being | 4 |
far as he is | 4 |
the sake of euphony | 4 |
except in so far | 4 |
is nothing but a | 4 |
as distinct from the | 4 |
the essence of the | 4 |
in letters and syllables | 4 |
the syntactic relations are | 4 |
drift of a language | 4 |
radical elements by means | 4 |
the philosophy of history | 4 |
in the mind of | 4 |
was held to be | 4 |
the solution of the | 4 |
a state of transition | 4 |
is so called apo | 4 |
can be drawn between | 4 |
of their radical elements | 4 |
the essence of things | 4 |
of the art of | 4 |
to modify the significance | 4 |
the powers of the | 4 |
of the word and | 4 |
to know how to | 4 |
critique of pure reason | 4 |
the significance of the | 4 |
the sounds of language | 4 |
as well as in | 4 |
to make use of | 4 |
a certain number of | 4 |
any more than in | 4 |
of some of the | 4 |
the philosophy of hegel | 4 |
the system of the | 4 |
the word to the | 4 |
of the same nature | 4 |
the history of philosophy | 4 |
on the basis of | 4 |
at the moment of | 4 |
the critique of pure | 4 |
number of american indian | 4 |
if there is no | 4 |
of the difference between | 4 |
of the language than | 4 |
critique of the beautiful | 4 |
that it should be | 4 |
is tantamount to saying | 4 |
the course of nature | 4 |
concepts of groups i | 4 |
that is beautiful which | 4 |
from time to time | 4 |
parts of the world | 4 |
identity of art and | 4 |
on the subject of | 4 |
it would not be | 4 |
significance of the radical | 4 |
as well as of | 4 |
which is not a | 4 |
the subject of discourse | 4 |
truth or correctness of | 4 |
and verbs are undifferentiated | 4 |
think that there is | 4 |
i think that we | 4 |
this is the truth | 4 |
in the first case | 4 |
in the critique of | 4 |
the meaning of words | 4 |
the ugly in art | 4 |
and pull out letters | 4 |
the sounds of speech | 4 |
appears to me to | 4 |
in the pronunciation of | 4 |
we speak of the | 4 |
as the result of | 4 |
of nature and of | 4 |
the representation of the | 4 |
sense of the word | 4 |
the theory of play | 4 |
that all things are | 4 |
or may not be | 4 |
from this it follows | 4 |
of the subject and | 4 |
to which it is | 4 |
the union of the | 4 |
i do not know | 4 |
we may say that | 4 |
of the verb to | 4 |
the elementary forms of | 4 |
the extent to which | 4 |
origin and nature of | 4 |
the method of artistic | 4 |
the pleasure of the | 4 |
we are able to | 4 |
which are expressive of | 4 |
be compared to the | 4 |
it is not always | 4 |
the significance of their | 4 |
of the physically beautiful | 4 |
it needs to be | 4 |
they are to be | 4 |
states of the soul | 4 |
the treatment of the | 4 |
the notion of a | 4 |
a time when the | 4 |
you mean to say | 4 |
forms of the spirit | 4 |
as a historical product | 4 |
it is desired to | 4 |
affixes or internal changes | 4 |
the writers of the | 4 |
means of affixes or | 4 |
of the aesthetic of | 4 |
of the seventeenth century | 4 |
to strike with a | 4 |
problem of the origin | 4 |
the confusion between the | 4 |
of the rhetorical categories | 4 |
as that of the | 4 |
each of which is | 4 |
which it would be | 4 |
do not wish to | 4 |
by means of which | 4 |
which has to be | 4 |
the fact that it | 4 |
been the first to | 4 |
the criticism of the | 4 |
as we have already | 4 |
of the sentence as | 3 |
to the verb of | 3 |
which are found in | 3 |
sounds of speech are | 3 |
we shall do well | 3 |
probably the majority of | 3 |
there is a great | 3 |
wrong in supposing that | 3 |
syntactic relations are expressed | 3 |
of a series of | 3 |
so far as we | 3 |
the domain of art | 3 |
or parts of speech | 3 |
of the existence of | 3 |
the nominative and accusative | 3 |
there are some who | 3 |
does not seem to | 3 |
be identical with the | 3 |
the possibilities of linguistic | 3 |
accent on the first | 3 |
is the instrument of | 3 |
there is little doubt | 3 |
that it is the | 3 |
the parts of a | 3 |
as in the other | 3 |
of verbs and nouns | 3 |
to the dignity of | 3 |
parts of speech and | 3 |
think that i am | 3 |
personality in the work | 3 |
of the nature and | 3 |
divided into two parts | 3 |
form part of the | 3 |
as an independent word | 3 |
took the place of | 3 |
by the name of | 3 |
from the criticism of | 3 |
the latter part of | 3 |
not by any means | 3 |
the middle age and | 3 |
and nature of language | 3 |
between the real and | 3 |
of the science of | 3 |
for the reproduction of | 3 |
the expense of the | 3 |
of language and of | 3 |
beginning of the nineteenth | 3 |
of linguistic and aesthetic | 3 |
it does not belong | 3 |
they are in the | 3 |
in that case the | 3 |
we shall find that | 3 |
do not agree with | 3 |
is that of the | 3 |
doctrine of the concept | 3 |
fact that they are | 3 |
the word may be | 3 |
of the glottal cords | 3 |
to the genius of | 3 |
an instance of this | 3 |
the question as to | 3 |
far as to say | 3 |
between idea and form | 3 |
of the speech organs | 3 |
i am disposed to | 3 |
that one of the | 3 |
conjugation of the verb | 3 |
the greater number of | 3 |
we must turn to | 3 |
progress in respect to | 3 |
concept of the beautiful | 3 |
by a series of | 3 |
way to have a | 3 |
in the service of | 3 |
in the words of | 3 |
what may be called | 3 |
theory of aesthetic senses | 3 |
when it has been | 3 |
reproduction of the beautiful | 3 |
as to the first | 3 |
the tongue and the | 3 |
solution of the problem | 3 |
such as express concepts | 3 |
of art is to | 3 |
on the one side | 3 |
only some of them | 3 |
are used in the | 3 |
the general form of | 3 |
such languages as chinese | 3 |
in respect to aesthetic | 3 |
may be called a | 3 |
that this was the | 3 |
to the point of | 3 |
as the radical element | 3 |
of subject and object | 3 |
true and a false | 3 |
the man saw the | 3 |
is not a matter | 3 |
inclined to believe that | 3 |
we do not yet | 3 |
is not a science | 3 |
what we have already | 3 |
as soon as we | 3 |
the givers of names | 3 |
the history of languages | 3 |
hope that you will | 3 |
is occupied with the | 3 |
bound up with the | 3 |
of speech are the | 3 |
if they are always | 3 |
much to my mind | 3 |
the history of culture | 3 |
in order to express | 3 |
another form of the | 3 |
in as far as | 3 |
that is a very | 3 |
but do you not | 3 |
we know that the | 3 |
is the method of | 3 |
the notes of the | 3 |
there is no difficulty | 3 |
it is not true | 3 |
in such a word | 3 |
all this does not | 3 |
relations are expressed in | 3 |
two or more words | 3 |
the critique of judgment | 3 |
between physic and aesthetic | 3 |
between the aesthetic fact | 3 |
the several kinds of | 3 |
of art and language | 3 |
the domain of the | 3 |
but if we take | 3 |
have seen that the | 3 |
may go so far | 3 |
to suppose that the | 3 |
to one another and | 3 |
must have recourse to | 3 |
the likeness of the | 3 |
concepts in the word | 3 |
the truth or correctness | 3 |
must be careful not | 3 |
the use of prefixes | 3 |
of the tongue and | 3 |
distinct but not opposite | 3 |
but that there is | 3 |
the latter is a | 3 |
conditions in which the | 3 |
between art and science | 3 |
same as that of | 3 |
as i was telling | 3 |
are employed in the | 3 |
from the domain of | 3 |
he is not a | 3 |
that the artist should | 3 |
the word in the | 3 |
to any one of | 3 |
of them that are | 3 |
have no difficulty in | 3 |
to the knowledge of | 3 |
which are distinct but | 3 |
form of the active | 3 |
the existence of the | 3 |
too much of a | 3 |
things which are distinct | 3 |
in an indian tongue | 3 |
the truth of things | 3 |
should like to ask | 3 |
the aesthetic fact in | 3 |
to say that a | 3 |
radical and grammatical elements | 3 |
relational concepts in the | 3 |
one way or another | 3 |
are not likely to | 3 |
the character of socrates | 3 |
of the soul to | 3 |
such a sentence as | 3 |
are supposed to be | 3 |
the spirit in its | 3 |
is no difficulty in | 3 |
of the pure intuition | 3 |
we are compelled to | 3 |
to deliver a speech | 3 |
is the foundation of | 3 |
and what do you | 3 |
may be represented by | 3 |
the degree of their | 3 |
more than half the | 3 |
progress in artistic and | 3 |
into a kind of | 3 |
independence of form and | 3 |
of a physical object | 3 |
the art of painting | 3 |
is the result of | 3 |
are expressed by the | 3 |
there is a tendency | 3 |
expressed by affixing non | 3 |
syntactic relations may be | 3 |
may it not be | 3 |
to the work of | 3 |
which is divided into | 3 |
confusion between physic and | 3 |
and this is not | 3 |
first subject of discourse | 3 |
the things which they | 3 |
of these is the | 3 |
normally expressed by affixing | 3 |
of such and such | 3 |
in order to the | 3 |
the history of literature | 3 |
men called him astyanax | 3 |
for the formation of | 3 |
the duty of the | 3 |
first and second degree | 3 |
in the same sense | 3 |
to the use of | 3 |
is of course true | 3 |
that is not free | 3 |
the heart of the | 3 |
the view of socrates | 3 |
that the science of | 3 |
incorporated in the verb | 3 |
cratylus and the image | 3 |
and in the same | 3 |
to the facts of | 3 |
negations of this thesis | 3 |
himself to be a | 3 |
there is not a | 3 |
is to be a | 3 |
the merely empirical and | 3 |
analogy of the arts | 3 |
in a certain order | 3 |
all that has been | 3 |
of speech and the | 3 |
the expression of relational | 3 |
the laws of the | 3 |
in accordance with our | 3 |
such a way that | 3 |
will not be necessary | 3 |
because they have their | 3 |
or he may be | 3 |
the light of the | 3 |
of art must be | 3 |
of language is the | 3 |
of the things which | 3 |
a number of american | 3 |
the art of savages | 3 |
can do is to | 3 |
a strong drift towards | 3 |
the divisions of the | 3 |
the speaker and the | 3 |
to the beauty of | 3 |
but there is no | 3 |
the degree of synthesis | 3 |
well as in the | 3 |
it is not possible | 3 |
a true and a | 3 |
word in the sentence | 3 |
in the progress of | 3 |
is expressed by the | 3 |
of the morally indifferent | 3 |
in the house or | 3 |
i think that there | 3 |
the words of the | 3 |
to his sense of | 3 |
to a limited extent | 3 |
is a true name | 3 |
as soon as the | 3 |
that the name of | 3 |
the nature of this | 3 |
turn out to be | 3 |
be careful not to | 3 |
proportions of the human | 3 |
system of the spirit | 3 |
the characteristics of art | 3 |
is no reason to | 3 |
are expressive of motion | 3 |
is customary to say | 3 |
the conception of the | 3 |
is the object of | 3 |
to those of the | 3 |
a number of other | 3 |
of which he is | 3 |
as though it were | 3 |
sidenote content and form | 3 |
who has a running | 3 |
that the body is | 3 |
the origin of speech | 3 |
is the same thing | 3 |
as we have said | 3 |
as they appear to | 3 |
the sense of a | 3 |
in the opinion of | 3 |
in literature and art | 3 |
beauty of the human | 3 |
it is one of | 3 |
is not a single | 3 |
that there are no | 3 |
a science of the | 3 |
not mean that the | 3 |
practical judgments or judgments | 3 |
relative possibility of translations | 3 |
action of the human | 3 |
true work of art | 3 |
are not able to | 3 |
apo tou oran ta | 3 |
but i should like | 3 |
the hamitic languages of | 3 |
and the same may | 3 |
they are the same | 3 |
in the natural sciences | 3 |
words in the sentence | 3 |
would have to be | 3 |
true nature of his | 3 |
if he were to | 3 |
the negations of this | 3 |
radical element of the | 3 |
by the analogy of | 3 |
to face with the | 3 |
and i think that | 3 |
and of the artistic | 3 |
to enable us to | 3 |
of pleasure and of | 3 |
great merit of having | 3 |
a form of the | 3 |
is every man a | 3 |
and the aesthetic of | 3 |
which is at once | 3 |
form of a language | 3 |
because it is an | 3 |
for the development of | 3 |
to the independence of | 3 |
in the next place | 3 |
the radical and grammatical | 3 |
seems to have been | 3 |
to that which is | 3 |
the structure of the | 3 |
interest to the linguist | 3 |
he who gave the | 3 |
indivisibility of the work | 3 |
this is true of | 3 |
as to make it | 3 |
an understanding of the | 3 |
but this is not | 3 |
it is probable that | 3 |
to each other in | 3 |
intuitive or expressive knowledge | 3 |
he who knows names | 3 |
to the aesthetic fact | 3 |
does not succeed in | 3 |
difference between the two | 3 |
the conjugation of the | 3 |
words that are psychologically | 3 |
are used as intransitive | 3 |
the concepts of space | 3 |
but a science of | 3 |
of binding and rest | 3 |
there is no trace | 3 |
to say to you | 3 |
that he is the | 3 |
the nature of aesthetic | 3 |
not the most lofty | 3 |
to the same thing | 3 |
theoretic and practical activity | 3 |
work will he be | 3 |
is connected with the | 3 |
and do you not | 3 |
true son of hermes | 3 |
every reason to believe | 3 |
of the romantic period | 3 |
neither more nor less | 3 |
be used to indicate | 3 |
there is every reason | 3 |
of the distinction between | 3 |
of words and the | 3 |
the proportions of the | 3 |
for the use of | 3 |
the aesthetic of pure | 3 |
and i hope that | 3 |
of the active voice | 3 |
is the derivation of | 3 |
the insertion of the | 3 |
there is no difference | 3 |
the english language has | 3 |
of the type of | 3 |
the cause of the | 3 |
nature and of the | 3 |
the necessity and the | 3 |
and he who gives | 3 |
the various forms of | 3 |
may be considered as | 3 |
in the second place | 3 |
the process of composition | 3 |
of a word may | 3 |
of the senses and | 3 |
by the radical element | 3 |
the motor processes and | 3 |
the english t of | 3 |
a piece of music | 3 |
and in that case | 3 |
the theoretic character of | 3 |
am disposed to think | 3 |
it has been sought | 3 |
is the basis of | 3 |
has a running at | 3 |
which is the opposite | 3 |
identity of linguistic and | 3 |
by the formative word | 3 |
of the individual arts | 3 |
in what you say | 3 |
than the fact that | 3 |
the order of words | 3 |
in the radical element | 3 |
to be thought of | 3 |
a fifth form of | 3 |
go so far as | 3 |
the notion of singularity | 3 |
that language is an | 3 |
in the fact that | 3 |
the formation of the | 3 |
the confusion between physic | 3 |
are not to be | 3 |
the fact of the | 3 |
elements to radical elements | 3 |
organs of the body | 3 |
the verb and the | 3 |
a number of languages | 3 |
has to do with | 3 |
the law of the | 3 |
may be said that | 3 |
of each of these | 3 |
the use of an | 3 |
that with which we | 3 |
amounts to the same | 3 |
the importance of this | 3 |
of the word in | 3 |
this is tantamount to | 3 |
the style is the | 3 |
that natural beauty is | 3 |
of the languages of | 3 |
is not necessary to | 3 |
and the distinction between | 3 |
of lines and colours | 3 |
it has been observed | 3 |
the presence of a | 3 |
some part of the | 3 |
such a manner that | 3 |
from a study of | 3 |
will do my best | 3 |
theoretic character of the | 3 |
of the principle of | 3 |
the meaning of them | 3 |
drachma course of prodicus | 3 |
as distinct from i | 3 |
there are many other | 3 |
the history of certain | 3 |
that we must not | 3 |
each other in a | 3 |
radical element and affix | 3 |
all in a moment | 3 |
are not at the | 3 |
the identity of the | 3 |
of the useful and | 3 |
we must have recourse | 3 |
the philosophy of heracleitus | 3 |
is in accordance with | 3 |
the help of the | 3 |
of a given language | 3 |
the sense of the | 3 |
use of a word | 3 |
unlike as well as | 3 |
the breath may be | 3 |
which we do not | 3 |
to believe that this | 3 |
the beginning of the | 3 |
judgments or judgments of | 3 |
did not succeed in | 3 |
whose work will he | 3 |
when we pass from | 3 |
impossibility of a normative | 3 |
doctrine of the flux | 3 |
the perfection of the | 3 |
to the perfection of | 3 |
the name may have | 3 |
the study of an | 3 |
the same word as | 3 |
of language which is | 3 |
same way as the | 3 |
the truth of names | 3 |
does not suffice to | 3 |
pleasure and of pain | 3 |
man saw the dog | 3 |
is the right way | 3 |
looks upon art as | 3 |
in the philosophy of | 3 |
at work in the | 3 |
the fact that they | 3 |
is at work in | 3 |
mean to say that | 3 |
modifications of the beautiful | 3 |
there is nothing to | 3 |
interrogative pronoun or adverb | 3 |
as the concept of | 3 |
as express concepts of | 3 |
is used as a | 3 |
as they are called | 3 |
which they are composed | 3 |
may be defined as | 3 |
to the idea of | 3 |
only to a limited | 3 |
be supposed to be | 3 |
so far as the | 3 |
of art and literature | 3 |
a good hand at | 3 |
can exist without the | 3 |
of the beautiful as | 3 |
is the way to | 3 |
i am afraid that | 3 |
is the science of | 3 |
the true and proper | 3 |
the influence of the | 3 |
the first principles of | 3 |
tip of the tongue | 3 |
all or nearly all | 3 |
are true and false | 3 |
no less than four | 3 |
as well as a | 3 |
a large extent the | 3 |
do not possess the | 3 |
made up of other | 3 |
of a language has | 3 |
there is a strong | 3 |
from that of the | 3 |
the relation of the | 3 |
style is the man | 3 |
the house or burn | 3 |
the first place in | 3 |
of the feelings and | 3 |
that there is any | 3 |
it is likely to | 3 |
the formation of language | 3 |
i hope that you | 3 |
but the expression of | 3 |
all the other forms | 3 |
the gesture of the | 3 |
in the works of | 3 |
he is unable to | 3 |
his conception of the | 3 |
the objective conditions of | 3 |
of progress in artistic | 3 |
that language is not | 3 |
the birth of a | 3 |
and that not every | 3 |
expressed by lack of | 3 |
by means of a | 3 |
the majority of languages | 3 |
have a pure mind | 3 |
make use of it | 3 |
the essential nature of | 3 |
the way to have | 3 |
view of socrates is | 3 |
of the elementary forms | 3 |
which it is impossible | 3 |
the things which he | 3 |
of art as pure | 3 |
of all the other | 3 |
should be looked upon | 3 |
very end of the | 3 |
the sum of two | 3 |
to the organs of | 3 |
we must remember that | 3 |
not be necessary to | 3 |
objective conditions of the | 3 |
the tip of the | 3 |
aesthetic as the science | 3 |
the same as those | 3 |
relation to one another | 3 |
combinations of lines and | 3 |
of the search for | 3 |
so long as they | 3 |
and the truth of | 3 |
into a number of | 3 |
out of the difficulty | 3 |
that the study of | 3 |
make use of the | 3 |
the same thing as | 3 |
of the words in | 3 |
in the light of | 3 |
he is not aware | 3 |
they are no longer | 3 |
of all that is | 3 |
not be too much | 3 |
name may have been | 3 |
with the exception of | 3 |
are some of the | 3 |
made use of by | 3 |
categories of space and | 3 |
in a manner which | 3 |
we were just now | 3 |
upon art as a | 3 |
now that we have | 3 |
parts of the verb | 3 |
this does not alter | 3 |
to have a pure | 3 |
with which it is | 3 |
true nature of art | 3 |
that which has to | 3 |
as a collection of | 3 |
and the same time | 3 |
of this type are | 3 |
that the analysis of | 3 |
and the use of | 3 |
is little doubt that | 3 |
as we were saying | 3 |
noun in a sentence | 3 |
but a complex of | 3 |
the forms of genius | 3 |
it may have been | 3 |
and at the same | 3 |
the mere fact of | 3 |
the relations of the | 3 |
the giver of names | 3 |
the aesthetic or artistic | 3 |
and of the other | 3 |
then a name is | 3 |
found their way into | 3 |
will he be using | 3 |
the last of the | 3 |
the body is the | 3 |
he does not see | 3 |
formal beauty of the | 3 |
be rightly called a | 3 |
a noun in a | 3 |
that such and such | 3 |
conditions of the beautiful | 3 |
like to know whether | 3 |
by the method of | 3 |
going to deliver a | 3 |
the beautiful that is | 3 |
the result of the | 3 |
and of intuitive knowledge | 3 |
contains in itself the | 3 |
the same principle as | 3 |
i was telling you | 3 |
be the meaning of | 3 |
so long as the | 3 |
can be arranged in | 3 |
the other spiritual activities | 3 |
from the standpoint of | 3 |
to an understanding of | 3 |
the farmer and the | 3 |
a way that the | 3 |
it is relative to | 3 |
has already been said | 3 |
what has been said | 3 |
before i began to | 3 |
the verb of the | 3 |
animate nouns and pronouns | 3 |
is not possible to | 3 |
at a time when | 3 |
second subject of discourse | 3 |
it is obvious that | 3 |
aesthetic of pure intuition | 3 |
as to say that | 3 |
such as that of | 3 |
principle of correctness is | 3 |
looked upon as an | 3 |
that in order to | 3 |
are in the habit | 3 |
or in other words | 3 |
in the sense that | 3 |
tantamount to saying that | 3 |
and that with such | 3 |
subjective and objective forms | 3 |
activity of the spirit | 3 |
may be permitted to | 3 |
the relation between the | 3 |
art has for its | 3 |
the very end of | 3 |
meaning of the name | 3 |
various forms of the | 3 |
the beautiful in nature | 3 |
the history of art | 3 |
the death of art | 3 |
be supposed to have | 3 |
there is no such | 3 |
is likely to be | 3 |
seems to be a | 3 |
nine hundred and ninety | 3 |
and is every man | 3 |
in the absence of | 3 |
the unity of language | 3 |
the general principles of | 3 |
i think that you | 3 |
history of the language | 3 |
of cause and effect | 3 |
the analysis of the | 3 |
is an element of | 3 |
at the time of | 3 |
the whole of language | 3 |
would seem to be | 3 |
beautiful and of the | 3 |
all parts of the | 3 |
in such a case | 3 |
the modifications of the | 3 |
limits of the arts | 3 |
there is nothing in | 3 |
the desire of the | 3 |
that the languages of | 3 |
there may be a | 3 |
the man whom i | 3 |
the forms of the | 3 |
and the reproduction of | 3 |
if we are to | 3 |
the eye of the | 3 |
in the latter case | 3 |
in the english language | 3 |
the first principle of | 3 |
who gave the name | 3 |
in contrast to the | 3 |
the speech of the | 3 |
would you say that | 3 |
of this is the | 3 |
in connection with the | 3 |
is not the same | 3 |
the expression of all | 3 |
into the mind of | 3 |
this it follows that | 3 |
feel that it is | 3 |
latin and greek are | 3 |
of a radical element | 3 |
theory of the elementary | 3 |
radical elements to radical | 3 |
to the fact that | 3 |
of a philosophy of | 3 |
it is easy to | 3 |
at a later stage | 3 |
the use of a | 3 |
classifications of the arts | 3 |
in like manner the | 3 |
man who has a | 3 |
and that of the | 3 |
that is my view | 3 |
of language and the | 3 |
be said of the | 3 |
single line of progress | 3 |
of the speaker and | 3 |
of the middle age | 3 |
let us suppose that | 3 |
in the language of | 3 |
of the two terms | 3 |
it has sometimes been | 3 |
is the distinction between | 3 |
the science of expression | 3 |
the flux of heracleitus | 3 |
for there is no | 3 |
the same time the | 3 |
a running at the | 3 |
indian would say that | 3 |
the persistence of the | 3 |
it is interesting to | 3 |
the feel of the | 3 |
that it would be | 3 |
of the same sort | 3 |
say that this was | 3 |
as a kind of | 3 |
out of which the | 3 |
he who gives all | 3 |
to the treatment of | 3 |
it is not so | 3 |
on the score of | 3 |
no man of sense | 3 |
small fires in the | 3 |
is a good deal | 3 |
the world of the | 3 |
that there are two | 3 |
of which may be | 3 |
the aesthetic activity is | 3 |
of the concept of | 3 |
occur as an independent | 3 |
the poetics of aristotle | 3 |
unity of the spirit | 3 |
may be identified with | 3 |
region of the soul | 3 |
the indian would say | 3 |
from a common source | 3 |
giver of the name | 3 |
the name which is | 3 |
modification of the radical | 3 |
are distinct but not | 3 |
the dignity of form | 3 |
about the correctness of | 3 |
that he who knows | 3 |
as those of the | 3 |
that art is a | 3 |
according to his conception | 3 |
at one and the | 3 |
you say of the | 3 |
of the platonic ideas | 3 |
of speech are not | 3 |
may be compared to | 3 |
express concepts of groups | 3 |
of the word are | 3 |
as the base of | 3 |
say that there is | 3 |
do not think that | 3 |
the remains of the | 3 |
be used as the | 3 |
there is the distinction | 3 |
with which they are | 3 |
on the point of | 3 |
one or other of | 3 |
tou oran ta ano | 3 |
and that of a | 3 |
of the elements of | 3 |
to be distinguished from | 3 |
at the very end | 3 |
the sounds as such | 3 |
the classification of languages | 3 |
of the second half | 3 |
is given to the | 3 |
aesthetic or artistic fact | 3 |
light of the previous | 3 |
of an indian language | 3 |
international congress of philosophy | 3 |
cannot be separated from | 3 |
part of the dialogue | 3 |
is an instance of | 3 |
speaker and the hearer | 3 |
critique of the aesthetic | 3 |
there is no need | 3 |
are you looking at | 3 |
differentiation of the parts | 3 |
and one of the | 3 |
is every reason to | 3 |
which gives knowledge of | 3 |
words may be said | 3 |
that the content of | 3 |
is the representation of | 3 |
is the fact that | 3 |
latter part of the | 3 |
with the radical element | 3 |
meanings of the word | 3 |
and the other is | 3 |
the conditions in which | 3 |
for the objective conditions | 3 |
of the divisions of | 3 |
to a certain extent | 3 |
if at any time | 3 |
history of the english | 3 |
that the aesthetic fact | 3 |
rest of the world | 3 |
what is the inference | 3 |
the great merit of | 3 |
art as pure intuition | 3 |
as a grammatical process | 3 |
in the middle ages | 3 |
of the ancient language | 3 |
it is no longer | 3 |
end of the dialogue | 3 |
the thesis of the | 3 |
under the dominion of | 3 |
two or more radical | 3 |
though it is not | 3 |
do you agree with | 3 |
which we were just | 2 |
takes the place of | 2 |
do not be too | 2 |
and it is not | 2 |
be far wrong in | 2 |
going back to the | 2 |
not put out by | 2 |
some of them that | 2 |
words may be used | 2 |
relation to each other | 2 |
by the presence of | 2 |
particular words are used | 2 |
some of them are | 2 |
burns in the east | 2 |
of art that are | 2 |
not to be a | 2 |
their use of names | 2 |
same time the long | 2 |
translated by benjamin jowett | 2 |
pedagogic theory of art | 2 |
are of the greatest | 2 |
as well as by | 2 |
joyfully repeat this beautiful | 2 |
the principle of contrasting | 2 |
all things much to | 2 |
a language has its | 2 |
the reason that it | 2 |
in the position of | 2 |
of the very few | 2 |
contained in his correspondence | 2 |
does not exist for | 2 |
exuberant energy of the | 2 |
a sentence which is | 2 |
into a first and | 2 |
greater number of words | 2 |
verb and the noun | 2 |
far from able to | 2 |
at the time when | 2 |
without the idea of | 2 |
that there can be | 2 |
the names of letters | 2 |
have lost the power | 2 |
every one knows that | 2 |
critique of the saying | 2 |
we do not ask | 2 |
view of the author | 2 |
useful and the moral | 2 |
we are opposed to | 2 |
from the lips of | 2 |
to the attributive relation | 2 |
in an arbitrary manner | 2 |
in a position to | 2 |
which the language is | 2 |
which are concerned with | 2 |
there yet remains to | 2 |
has no need of | 2 |
from the distinction between | 2 |
work of the legislator | 2 |
i kill him as | 2 |
of the truth of | 2 |
the man that i | 2 |
is not at all | 2 |
end of the word | 2 |
phonetic habits of a | 2 |
in direct opposition to | 2 |
to emphasize the fact | 2 |
compare art with the | 2 |
in judgments on art | 2 |
those of real life | 2 |
it is limited to | 2 |
to be supplemented by | 2 |
is swift and sudden | 2 |
it is not at | 2 |
for which there is | 2 |
may have been originally | 2 |
be used more freely | 2 |
express the same thing | 2 |
of the number of | 2 |
is a strong drift | 2 |
value for the shaping | 2 |
do you think that | 2 |
little to say of | 2 |
is of opinion that | 2 |
genuses and species of | 2 |
drugs under different disguises | 2 |
murder of myrtilus would | 2 |
in all things much | 2 |
of the ear as | 2 |
may attribute the likeness | 2 |
not exist for the | 2 |
that the god knew | 2 |
find ourselves at once | 2 |
do not so much | 2 |
is the first degree | 2 |
i intuition and expression | 2 |
you may attribute the | 2 |
theory of the ugly | 2 |
not produced by the | 2 |
are better and some | 2 |
in this part of | 2 |
absoluteness of the imagination | 2 |
we are not considering | 2 |
same as the old | 2 |
xvi taste and the | 2 |
that there is such | 2 |
that he must be | 2 |
between the aesthetic and | 2 |
be expressed by the | 2 |
genius of a language | 2 |
there is no passage | 2 |
in that case is | 2 |
are in no sense | 2 |
that a work of | 2 |
say who did you | 2 |
the significant fact that | 2 |
science or theory of | 2 |
understand the nature of | 2 |
of the names which | 2 |
give the impression of | 2 |
is still preserved in | 2 |
to take place in | 2 |
we can only say | 2 |
in accordance with what | 2 |
that it may not | 2 |
that the expression of | 2 |
critique of the search | 2 |
are apt to be | 2 |
be conceived as a | 2 |
that give us the | 2 |
same drugs under different | 2 |
are those combinations of | 2 |
that the doctrine of | 2 |
extent to which the | 2 |
v analogous errors in | 2 |
at the beginning of | 2 |
looked upon aesthetic as | 2 |
draw attention to the | 2 |
one would have thought | 2 |
have generally to do | 2 |
account of the origin | 2 |
for the theory of | 2 |
and early sixteenth centuries | 2 |
the extent that it | 2 |
ama theo iontos poreia | 2 |
that it is always | 2 |
it adds to the | 2 |
not know that it | 2 |
same principle as the | 2 |
to the other and | 2 |
the two terms of | 2 |
is of the greatest | 2 |
but the greater number | 2 |
at the same moment | 2 |
particular particle whether it | 2 |
of art is the | 2 |
first place in the | 2 |
element of the word | 2 |
part and parcel of | 2 |
that it is desired | 2 |
that is of the | 2 |
and this may be | 2 |
which we have shown | 2 |
and the unification of | 2 |
difficult to believe that | 2 |
take place in the | 2 |
the practical form of | 2 |
of first and second | 2 |
nine thousand nine hundred | 2 |
finality without the idea | 2 |
is an interesting example | 2 |
the movements of the | 2 |
of the concepts of | 2 |
it would be necessary | 2 |
the surmounting of variety | 2 |
with the appearance of | 2 |
leibnitzian law of continuity | 2 |
that are required to | 2 |
we have studied the | 2 |
to formal beauty of | 2 |
which has preposed position | 2 |
one to the other | 2 |
the right to speak | 2 |
i am afraid of | 2 |
to the formation of | 2 |
higher tongue position of | 2 |
this or any other | 2 |
of a foreign language | 2 |
not every man is | 2 |
of the word which | 2 |
of the forms of | 2 |
as irrelevant to the | 2 |
when the sun is | 2 |
symbol of a symbol | 2 |
may be used to | 2 |
of the two is | 2 |
to reduce all the | 2 |
of the form of | 2 |
of correctness is there | 2 |
of language of which | 2 |
may put in and | 2 |
gave them according to | 2 |
at a certain moment | 2 |
we know them to | 2 |
name of each thing | 2 |
life the individuality of | 2 |
the subjective and the | 2 |
there is a natural | 2 |
standing on his right | 2 |
theory of art as | 2 |
for all things are | 2 |
delta have been added | 2 |
of the feelings as | 2 |
but only by means | 2 |
or at the most | 2 |
same moment and always | 2 |
god knew many things | 2 |
we may say he | 2 |
this or that feature | 2 |
a very great number | 2 |
i will tell you | 2 |
are always passing away | 2 |
the elements of beauty | 2 |
c d a b | 2 |
names may be true | 2 |
which we must look | 2 |
to the romantic aesthetic | 2 |
the line of beauty | 2 |
such a way as | 2 |
most important of all | 2 |
it must be declared | 2 |
also possess the power | 2 |
pronunciation of a word | 2 |
is not one of | 2 |
would be expressed by | 2 |
bad or imperfect one | 2 |
in the circle of | 2 |
are conceived of as | 2 |
distinct words may be | 2 |
to get at the | 2 |
the exuberant energy of | 2 |
such a thing as | 2 |
to sit and cut | 2 |
the pure and garnished | 2 |
fell together with the | 2 |
in the forms of | 2 |
union of the two | 2 |
but in so far | 2 |
you will continue to | 2 |
most important of these | 2 |
the use of writing | 2 |
that falsehood is impossible | 2 |
questions as to the | 2 |
have come into being | 2 |
what is generally called | 2 |
activity of externalization with | 2 |
is implied in the | 2 |
arete is also right | 2 |
the subjective and objective | 2 |
widest sense of the | 2 |
barbarians are older than | 2 |
such sounds as b | 2 |
from the study of | 2 |
to be assigned to | 2 |
an account of all | 2 |
wiser than i ought | 2 |
and critique of rhetoric | 2 |
there is also a | 2 |
what is the use | 2 |
the laws by which | 2 |
a number of words | 2 |
these is the presence | 2 |
are most conservative of | 2 |
or subtraction of a | 2 |
confusion between the aesthetic | 2 |
the literary movement of | 2 |
cratylus by plato translated | 2 |
not a question of | 2 |
not for a moment | 2 |
it is in fact | 2 |
which it is affixed | 2 |
of the particular language | 2 |
when we speak of | 2 |
inflection is used for | 2 |
name is better than | 2 |
of language and its | 2 |
introduction to the study | 2 |
they are common enough | 2 |
this is not all | 2 |
method of expressing the | 2 |
we may conclude that | 2 |
the works of the | 2 |
as the tendency to | 2 |
in ute the name | 2 |
the case of names | 2 |
of taste without genius | 2 |
whether the syllables of | 2 |
upon the aesthetic fact | 2 |
there will be no | 2 |
always in process of | 2 |
direct the legislator in | 2 |
expression into modes or | 2 |
or misplace a letter | 2 |
hill which men call | 2 |
imitation of such notions | 2 |
any form of knowledge | 2 |
degree of the practical | 2 |
expression of station and | 2 |
be made use of | 2 |
of the symbol and | 2 |
and tactile feelings which | 2 |
and are not the | 2 |
the world is always | 2 |
he means by the | 2 |
began seriously to seek | 2 |
one with that of | 2 |
you agree with me | 2 |
is right in saying | 2 |
end of art is | 2 |
we may go so | 2 |
as in the words | 2 |
that which has a | 2 |
that there exists an | 2 |
the man is the | 2 |
or other of these | 2 |
certain ordinary distinctions of | 2 |
they are really the | 2 |
is akin to the | 2 |
and according to the | 2 |
the former of these | 2 |
am in the next | 2 |
in the chinese sentence | 2 |
the movement of the | 2 |
the word as such | 2 |
it is of course | 2 |
real interest to the | 2 |
his head in the | 2 |
the field of aesthetic | 2 |
and is correctness of | 2 |
the plural of the | 2 |
it would be the | 2 |
in english we would | 2 |
the method of fusion | 2 |
make out the original | 2 |
should be more readily | 2 |
but i think that | 2 |
the real and unreal | 2 |
which are connected with | 2 |
critique of pure beauty | 2 |
or all of these | 2 |
will be observed that | 2 |
what becomes of the | 2 |
particles cannot be separated | 2 |
a man may be | 2 |
of the university of | 2 |
a real basis of | 2 |
but is not the | 2 |
all languages that are | 2 |
it is affirmed that | 2 |
know how to put | 2 |
in addition to these | 2 |
to be the meaning | 2 |
like the book falls | 2 |
have found their way | 2 |
the man in the | 2 |
to the method of | 2 |
up out of a | 2 |
the noumenon or spirit | 2 |
by plato translated by | 2 |
terms of the sentence | 2 |
elements are rightly given | 2 |
made up our minds | 2 |
easier to create new | 2 |
is aware of the | 2 |
correspond to the facts | 2 |
to the rest of | 2 |
was colored by the | 2 |
would entail upon his | 2 |
as science of expression | 2 |
and that is beautiful | 2 |
likely to be the | 2 |
in the diversity of | 2 |
may be interpreted as | 2 |
will be recognized as | 2 |
man whom i referred | 2 |
its distinction from historical | 2 |
between logical and non | 2 |
the top of my | 2 |
in a single word | 2 |
as in all the | 2 |
in the widest sense | 2 |
and adverbial phrases and | 2 |
nothing to show that | 2 |
no accounting for tastes | 2 |
we must not imagine | 2 |
for the good reason | 2 |
have the same meaning | 2 |
language is to be | 2 |
the onomatopoetic theory of | 2 |
the side of the | 2 |
putting the mouth into | 2 |
the very nature of | 2 |
of the most important | 2 |
a man of taste | 2 |
the study of which | 2 |
to hold on to | 2 |
a symbol of a | 2 |
and is therefore called | 2 |
are united with the | 2 |
is no test of | 2 |
the business of the | 2 |
from the analysis of | 2 |
an intuition of the | 2 |
in all manner of | 2 |
sees what is near | 2 |
at variance with the | 2 |
with him in his | 2 |
he does not speak | 2 |
nature of the thing | 2 |
into modes or grades | 2 |
that the beautiful is | 2 |
weaver will use the | 2 |
exclusion of the practical | 2 |
standing out from the | 2 |
is in words a | 2 |
i should imagine that | 2 |
an insight into the | 2 |
some priest or sophist | 2 |
said to have been | 2 |
the concepts expressed in | 2 |
that of the form | 2 |
makes motion immortal and | 2 |
it is related to | 2 |
is divided into poetry | 2 |
indian language of british | 2 |
prefix to the verb | 2 |
is higher than a | 2 |
increase the grandeur of | 2 |
for a number of | 2 |
language and its development | 2 |
which is all that | 2 |
able to direct the | 2 |
the words which we | 2 |
not in so far | 2 |
knowledge of things is | 2 |
the course of the | 2 |
one language to another | 2 |
at variance in their | 2 |
last of the three | 2 |
were we not saying | 2 |
the pleasure and pain | 2 |
when he comes to | 2 |
there is plenty of | 2 |
function of art is | 2 |
processes and tactile feelings | 2 |
aesthetic theories of the | 2 |
the indians of the | 2 |
a complete education in | 2 |
they would be the | 2 |
it is seen that | 2 |
the course of its | 2 |
show that there are | 2 |
in its application to | 2 |
on the other side | 2 |
is supposed to increase | 2 |
the maternal language of | 2 |
the true forms of | 2 |
the magnificent and heroic | 2 |
middle high german forms | 2 |
the elements of all | 2 |
worthy of the name | 2 |
the natural laws of | 2 |
conceived of as a | 2 |
is in his view | 2 |
does not constitute an | 2 |
as the attempt to | 2 |
position of the long | 2 |
over more than half | 2 |
ak i am silent | 2 |
has to be cut | 2 |
the vowel of the | 2 |
it will be necessary | 2 |
a russian word like | 2 |
the title of the | 2 |
to some of the | 2 |
to the second of | 2 |
at the top of | 2 |
did you say i | 2 |
of the word form | 2 |
value which the legislator | 2 |
the teacher will use | 2 |
vast majority of languages | 2 |
setting down its symbol | 2 |
spirit in which we | 2 |
paradigm of the verb | 2 |
to avoid the ill | 2 |
with reference to the | 2 |
of pure intuition makes | 2 |
is already in the | 2 |
language known to us | 2 |
the beauty of geometrical | 2 |
be no reason to | 2 |
which make up the | 2 |
perception of a physical | 2 |
between the one and | 2 |
letters out of which | 2 |
does not directly concern | 2 |
use the name well | 2 |
in conformity with the | 2 |
in the meshes of | 2 |
use of the ugly | 2 |
is not a simple | 2 |
belong to the world | 2 |
to any of them | 2 |
part of the word | 2 |
we take a word | 2 |
by no means be | 2 |
a particular type of | 2 |
the goat of tragedy | 2 |
phenomenon and noumenon in | 2 |
with the problem in | 2 |
a right or wrong | 2 |
is the work of | 2 |
chain of the feet | 2 |
and therefore does not | 2 |
proceeds to define aesthetic | 2 |
an impediment to motion | 2 |
and that the artist | 2 |
by the sounds and | 2 |
human activity that varies | 2 |
that this is a | 2 |
in the flow of | 2 |
in the imitation of | 2 |
of instruments in general | 2 |
an example of the | 2 |
lack of correspondence between | 2 |
what types of concepts | 2 |
not follow that it | 2 |
in the presence of | 2 |
have not said that | 2 |
we should have no | 2 |
end of a word | 2 |
matter of fact the | 2 |
english we may say | 2 |
can be nothing but | 2 |
is no more then | 2 |
functional units of speech | 2 |
different parts of the | 2 |
each other in the | 2 |
critique of aesthetic associationism | 2 |
of a glutinous clammy | 2 |
or at any rate | 2 |
said of the aesthetic | 2 |
save that of the | 2 |
conveys the idea of | 2 |
particles are excessively worn | 2 |
and i should like | 2 |
for the gods must | 2 |
the historical portion of | 2 |
empirical sense of the | 2 |
and the elements of | 2 |
and the explanation of | 2 |
aesthetic activity and the | 2 |
of a true radical | 2 |
verschiedenheit des menschlichen sprachbaues | 2 |
have to do with | 2 |
of the word itself | 2 |
the reaction of the | 2 |
that result in walking | 2 |
having the value which | 2 |
on to the water | 2 |
the point of the | 2 |
as well as to | 2 |
and case of the | 2 |
effort to understand the | 2 |
and the act of | 2 |
the name is a | 2 |
as the case may | 2 |
the moment of production | 2 |
to be made up | 2 |
now rhymed with the | 2 |
is speech or the | 2 |
were burning in the | 2 |
we may be quite | 2 |
not a matter of | 2 |
lies in the fact | 2 |
the content and that | 2 |
i am not careful | 2 |
the phenomenon and the | 2 |
a man will be | 2 |
is also a law | 2 |
in our own day | 2 |
is derived apo tes | 2 |
may seem to be | 2 |
am inclined to believe | 2 |
but i do not | 2 |
to a considerable extent | 2 |
we shall return to | 2 |
the introduction of the | 2 |
the elaboration of the | 2 |
that keep the syntactic | 2 |
feeling of language for | 2 |
for the work of | 2 |
and may not the | 2 |
of no real interest | 2 |
the hearts of nations | 2 |
by which they are | 2 |
of art can be | 2 |
the status of a | 2 |
but do not be | 2 |
to warrant their being | 2 |
because they are used | 2 |
according to their various | 2 |
a man who has | 2 |
between the status of | 2 |
in the choice of | 2 |
out by the addition | 2 |
believe you to be | 2 |
then arete is also | 2 |
for the same things | 2 |
the original meaning of | 2 |
no difficulty in explaining | 2 |
better understood by us | 2 |
had been vacated by | 2 |
of speech are far | 2 |
the abstractions of the | 2 |
we are agreed thus | 2 |
the resultant of a | 2 |
the type whom did | 2 |
a way as to | 2 |
universal and the particular | 2 |
the relation of first | 2 |
it burns in the | 2 |
to particular groups of | 2 |
concepts as those of | 2 |
it appears that the | 2 |
and every one of | 2 |
of other spiritual forms | 2 |
from the realities of | 2 |
am at a loss | 2 |
is not wanting in | 2 |
extent that prepositions are | 2 |
a little more closely | 2 |
affirmation of human activity | 2 |
a place other than | 2 |
example of this is | 2 |
no easie matter for | 2 |
the confirmation of the | 2 |
may be made to | 2 |
and the model language | 2 |
derived from armed dances | 2 |
of the ancient romans | 2 |
adverbial phrases and clauses | 2 |
by the criterion of | 2 |
and the integration of | 2 |
the idea and the | 2 |
that we cannot say | 2 |
is as it were | 2 |
that a name is | 2 |
not alone suffice to | 2 |
the function of indicating | 2 |
the feelings of pleasure | 2 |
of a mixed beauty | 2 |
framed on the same | 2 |
our own day we | 2 |
what is already in | 2 |
is a foreign form | 2 |
there are others that | 2 |
the obscure region of | 2 |
of the antique parthenope | 2 |
e ama theo iontos | 2 |
the struggle for existence | 2 |
that they have a | 2 |
the root of the | 2 |
or whose parts are | 2 |
idea that all things | 2 |
cratylus is right in | 2 |
unity and indivisibility of | 2 |
we pass from language | 2 |
appears to be a | 2 |
of the world to | 2 |
it has often been | 2 |
a number of dialects | 2 |
of the choice of | 2 |
the scientific and philosophic | 2 |
as compared with those | 2 |
the relative independence of | 2 |
the middle english period | 2 |
but how shall we | 2 |
history to that which | 2 |
lungs and bronchial tubes | 2 |
is there no justice | 2 |
as e ama theo | 2 |
to men and animals | 2 |
every work of art | 2 |
i was before i | 2 |
theory of the aesthetic | 2 |
more and more to | 2 |
all examples of the | 2 |
of names is a | 2 |
that it is one | 2 |
the character of a | 2 |
that all of them | 2 |
if we do not | 2 |
of the arts is | 2 |
the player of the | 2 |
relations pure and that | 2 |
was one of the | 2 |
literary and artistic history | 2 |
is a combination of | 2 |
keep the syntactic relations | 2 |
from one to the | 2 |
gives knowledge of the | 2 |
order to avoid the | 2 |
the things differ as | 2 |
pleasure and pain are | 2 |
the letter eta was | 2 |
space and time are | 2 |
i shall be wiser | 2 |
which is an element | 2 |
of the absolute spirit | 2 |
he looks upon the | 2 |
to be the only | 2 |
may be dispensed with | 2 |
own day we have | 2 |
on the ground that | 2 |
the man of the | 2 |
the barbarians are older | 2 |
the stream of breath | 2 |
of nominalism and realism | 2 |
of i sleep as | 2 |
work of art has | 2 |
rather than in the | 2 |
and therefore i would | 2 |
and species of true | 2 |
in order to live | 2 |
if i wish to | 2 |
the concept of sincerity | 2 |
it is not to | 2 |
which he compares to | 2 |
of sounds that are | 2 |
about the beauty of | 2 |
things which he named | 2 |
nature of the imagination | 2 |
conscious action of the | 2 |
the discovery of the | 2 |
in those indian languages | 2 |
in the development of | 2 |
languages there is no | 2 |
that is quite true | 2 |
of a new concept | 2 |
letter rho accent is | 2 |
i shall be at | 2 |
called a man by | 2 |
never had the impression | 2 |
used in the same | 2 |
must be the same | 2 |
if the men called | 2 |
do not yet fully | 2 |
number or gender or | 2 |
the phonetic habits of | 2 |
has to be named | 2 |
phonetic form of the | 2 |
not in the sense | 2 |
is doubtful if any | 2 |
a proverb for stupidity | 2 |
in the manner of | 2 |
be a sort of | 2 |
to hear what cratylus | 2 |
on the philosophy of | 2 |
there is of truth | 2 |
we are dealing with | 2 |
of all or nearly | 2 |
it would be no | 2 |
according to whether the | 2 |
there are true and | 2 |
a multiplicity of modes | 2 |
answer to the question | 2 |
that we often put | 2 |
the words in the | 2 |
the purpose for which | 2 |
on the authority of | 2 |
into the old pedagogic | 2 |
the sound of the | 2 |
may not have been | 2 |
distinction between logical and | 2 |
the definiteness of reference | 2 |
are really the same | 2 |
modifications of the radical | 2 |
when it is understood | 2 |
took the position that | 2 |
they may be divided | 2 |
the subject of the | 2 |
but in this case | 2 |
is possessed by the | 2 |
them to be good | 2 |
the elements of the | 2 |
perceptions of space and | 2 |
we can imagine a | 2 |
what has really happened | 2 |
on the proportions of | 2 |
in harmony with nature | 2 |
gave me a long | 2 |
not be at all | 2 |
of art from the | 2 |
of the soul which | 2 |
it would seem that | 2 |
language has sometimes been | 2 |
the grandeur of the | 2 |
which is in his | 2 |
the expression of pure | 2 |
but we do not | 2 |
an element of speech | 2 |
nature of language by | 2 |
other uses of it | 2 |
but in such a | 2 |
is at any rate | 2 |
me a long lecture | 2 |
is very far from | 2 |
to the motor nerves | 2 |
examples in which the | 2 |
they must be always | 2 |
such a manner as | 2 |
quality of the content | 2 |
in spite of its | 2 |
of the relation between | 2 |
a representation of the | 2 |
the t of teem | 2 |
connexion of the languages | 2 |
we must be careful | 2 |
the expression of plurality | 2 |
which we shall call | 2 |
to the persistence of | 2 |
the very core of | 2 |
hamitic languages of northern | 2 |
complex than the natural | 2 |
that it can be | 2 |
phonetically the same as | 2 |
historical criticism in literature | 2 |
in the process of | 2 |
and we must remember | 2 |
in the vast majority | 2 |
as well as may | 2 |
whatever it may be | 2 |
are none of them | 2 |
it would be vain | 2 |
one who cares nothing | 2 |
with its proper sound | 2 |
is the aesthetic or | 2 |
forms part of a | 2 |
to be the general | 2 |
pi and delta have | 2 |
wish to deny that | 2 |
the lungs and bronchial | 2 |
to the discovery of | 2 |
to be in a | 2 |
of the modifications of | 2 |
movements of the speech | 2 |
whether it be not | 2 |
partly also because the | 2 |
known by the name | 2 |
last quarter of the | 2 |
the human mind is | 2 |
to recognize the identity | 2 |
may be divided into | 2 |
better and some worse | 2 |
expressed by position of | 2 |
theory of the limits | 2 |
but who did you | 2 |
house or burn plurally | 2 |
not fall into the | 2 |
the concrete significance of | 2 |
the warp from the | 2 |
for bear is he | 2 |
to be the true | 2 |
the variation of the | 2 |
put out by the | 2 |
must be understood to | 2 |
and of aesthetic relativism | 2 |
central and southern germany | 2 |
both english and german | 2 |
of sexuality and of | 2 |
accented on the second | 2 |
about the origin of | 2 |
that is to be | 2 |
but at the moment | 2 |
criterion of the word | 2 |
very body of the | 2 |
particular case we have | 2 |
the t of sting | 2 |
it is not enough | 2 |
to speak of a | 2 |
us to be a | 2 |
theory of language is | 2 |
the soul moves in | 2 |
not at all in | 2 |
use of the letter | 2 |
a kind of conclusion | 2 |
one of the first | 2 |
the course of history | 2 |
the description of the | 2 |
number of derivational affixes | 2 |
are in all likelihood | 2 |
part of the process | 2 |
what is meant by | 2 |
inner or ideal system | 2 |
there is in words | 2 |
the ground that it | 2 |
makes all the difference | 2 |
not this or that | 2 |