| | | Preface | | |
| 1 | | The Chaos of Critical Theories | | 1 |
| 2 | | The Phantom Aesthetic State | | 7 |
| 3 | | The Language of Critism | | 14 |
| 4 | | Communication and the Artist | | 20 |
| 5 | | The Critics Concern with Value | | 29 |
| 6 | | Value as an Ultimate Idea | | 33 |
| 7 | | A Psychological Theory of Value | | 39 |
| 8 | | Art and Morals | | 52 |
| 9 | | Actual and Possible Misapprehensions | | 57 |
| 10 | | Poetry for Poetrys Sake | | 64 |
| 11 | | A Sketch for a Psychology | | 73 |
| 12 | | Pleasure | | 83 |
| 13 | | Emotion and the Coenesthesia | | 89 |
| 14 | | Memory | | 94 |
| 15 | | Attitudes | | 98 |
| 16 | | The Analysis of a Poem | | 104 |
| 17 | | Rhythm and Metre | | 122 |
| 18 | | On Looking at a Picture | | 134 |
| 19 | | Sculpture and the Construction of Form | | 147 |
| 20 | | The Impasse of Musical Theory | | 154 |
| 21 | | A Theory of Communication | | 160 |
| 22 | | The Availability of the Poets Experience | | 165 |
| 23 | | Tolstoys Infection Theory | | 171 |
| 24 | | The Normality of the Artist | | 176 |
| 25 | | Badness in Poetry | | 185 |
| 26 | | Judgement and Divergent Readings | | 192 |
| 27 | | Levels of Response and the Width of Appeal | | 196 |
| | More... | | |