There is a wide gap, at any rate in the English-speaking world, between the people whose business it is to talk about the nature of poetry and those who are concerned with the critical analysis of language. Although both subjects are legitimate topics for philosophical discussion, there are few philosophers who combine a deep and effective interest in aesthetics with a concern in the problems of linguistic analysis. The analytical philosopher is only too ready to relegate poetry to the field of “emotive” meaning; and, although “emotive” is a convenient term for marking off aspects of meaning with which the scientist (for example) is not concerned, it is also a means for keeping questions closed which ought to be opened. For it conceals the enormous differences which exist between various nonscientific uses of language. It does this behind an implicit suggestion that, since “emotions” are the province of the psychologist, any sort of inquiry into these uses of language will be merely a psychological inquiry. Poetry, of course, falls into this category of non-scientific uses of language, and a few psycho-analysts have accepted the commitment to discuss it; but on the whole its discussion is left to a very small band of aestheticians and a very large fraternity of literary critics.