Why, however, should it be necessarily wrong to discuss the nebulous in a businesslike manner?

Music may be used to express emotion, to heighten a drama, to emphasize the meaning of a ceremony; but it is nevertheless an abstract art, with no power to represent the world. Representation, as I understand it, is a property that does not belong to music.

G. E. Moore's ‘A Defence of Common Sense’ has generated the kind of interest and contrariety which often accompany what is new, provocative, and even important in philosophy. Moore himself reportedly agreed with Wittgenstein's estimate that this was his best article, while C. D. Broad has lamented its very great but (for him) largely unfortunate influence. Although the essay inspired Wittgenstein to explore the basis of Moore's claim to know many propositions of common sense to be true, A. J. Ayer judges its enduring value to lie in provoking a more sophisticated conception of the very type of metaphysics which disputes any such unqualified claim of certainty.

Not many philosophers have dealt seriously with the problems of women's rights and status, and those that have, have unfortunately often been on the wrong side. In fact Plato and Mill are the only great philosophers who can plausibly be called feminists. But there has been surprisingly little serious effort made to analyse their arguments; perhaps because it has seemed like going over ground already won.

Popper welcomes Tarski's theory of truth as a vindication of the ‘objective or absolute or correspondence theory of truth’:

Tarski's greatest achievement, and the real significance of his theory for the philosophy of the empirical sciences, is that he rehabilitated the correspondence theory of absolute or objective truth … He vindicated the free use of the intuitive idea of truth as correspondence to the facts …