 Yet the paths or “routes” of reference can be of many different sorts, and indeed symbols may combine in “chains of reference” to give rise to instances of complex reference (Goodman 1981a). There is, first of all, the sort of symbolization employed by metaphors (as when human beings are referred to as “wolves”), a mode of reference that becomes crucial to Goodman’s analysis of expression in art. In analyzing metaphor, Goodman (1976, Chap. 2; 1979) follows suggestions included in Max Black’s famous article on the topic (Black 1954) but expands and adapts them to his own view that denotational symbols—labels—don’t work alone but rather as members of “schemata” (“a label functions not in isolation but as belonging to a family” [Goodman 1976, 71]), normally correlated to some referential “realm.” “Blue,” “green,” “red,” etc., for instance, typically belong to the same “schema”—a set of labels established by context and habit—and the realm of reference of such a schema is made of all the ranges of things that each label in the schema denotes (all blue objects, all green objects, etc.). We have an instance of metaphorical reference when a symbol, linguistic or not, is made to refer to something not belonging to the realm normally correlated to the symbol’s schema, i.e., not belonging to the sorts of things that the symbols in the schema normally refer to. Hence, calling a painting “sad” is metaphorical because a predicate that is normally projected upon bearers of mental, emotional states is projected upon an inanimate object made of canvas and wood and paint. Using the notions of schema and realm allows Goodman’s analysis to include the claim that typically metaphors bring about rearrangements in a field of reference, which affect several labels at once. It is important to emphasize that, for Goodman, metaphorical usage is no less real or connected to knowledge than literal usage, and metaphorical truth no less a form of truth than literal truth. Indeed, the literal and the metaphorical in a sense lie on the same continuum. Whether the application of a label (and the corresponding possession of a feature) should be considered literal or metaphorical is just a matter of habit—specifically, a matter of the age of the metaphor, for old metaphors lose their metaphorical status and become just literal applications. Using a metaphor himself, Goodman claims that “a metaphor is an affair between a predicate with a past and an object that yields while protesting” (1976, 69). Notice that such a formula includes two elements: that there is resistance to a metaphor (deriving from its literal falseness) but also attraction (deriving from the insightful reorganization of a schema of labels vis-à-vis a referential realm, which the metaphor may bring about). A metaphor is a voluntary misassignment of a label, but it is also more than that: “Whereas falsity depends upon misassignment of a label, metaphorical truth depends upon reassignment” (1976, 70 emphasis added).