 Let us turn to those real achievements, then. One of them concerns the relation between art and language. As we saw earlier, Herder’s philosophy of language is committed to the two doctrines that thought is essentially dependent on and bounded by language, and that meaning is word-usage. This prompts certain questions. These doctrines make a plausible break with a common Enlightenment assumption that thought and meaning are in principle autonomous of whatever material, perceptible expressions they may happen to receive. Following Charles Taylor, we might call such a move one to “expressivism”. But what form should expressivism take exactly? Is the dependence of thought and meaning on external symbols strictly one on language (in the usual sense of “language”)? Or is it rather a dependence on a broader range of symbolic media including, besides language, also such things as painting, sculpture, and music—so that a person might be able to entertain thoughts that he was not able to express in language but only in some other symbolic medium? Let us call the former position narrow expressivism and the latter broad expressivism.