  In the next passages of Wittgenstein's lectures he turns to a fairly detailed examination of the distinct charm, for some, of psycho-analytic explanation, and he interweaves this with the distinction between scientific-causal explanation of an action versus motive-based (or personally-generated) explanations of that action. It is easy, but mistaken, to read these passages as simply subject-switching anticipations of his lectures on Freud to follow. His fundamental interest here lies with the powerful charm, a kind of conceptual magnetism, of reductive explanations that promise a brief, compact, and propositionally-encapsulated account of what some much larger field of thought or action “really” is. (He cites the example of boiling Redpath, one of his auditors, down to ashes, etc., and then saying “This is all Redpath really is”, adding the remark “Saying this might have a certain charm, but would be misleading to say the least” (Wittgenstein 1966, 24).  “To say the least” indeed: the example is striking precisely because one can feel the attraction of an encapsulating and simplifying reduction of the bewildering and monumental complexity of a human being, while at the same time feeling, as a human being, that any such reduction to a few physical elements would hardly capture the essence of a person.  This, he observes, is an explanation of the “This is only really this” form. Reductive causal explanations function in just the same way in aesthetics, and this links directly to the problems in philosophical methodology that he adumbrated in the Blue and Brown Books (1958a, 17–19), particularly where he discusses what he there calls “craving for generality” and the attendant “contemptuous attitude toward the particular case”. If the paradigm of the sciences (which themselves, as he observes in passing, carry an imprimatur of epistemic prestige and the image of incontrovertibility) is Newtonian mechanics, and we then implant that model under our subsequent thinking about psychology, we will almost immediately arrive at an idea of a science of the mind, where that science would progress through the gradual accumulation of psychological laws. (This would constitute, as he memorably puts it, a “mechanics of the soul” [Wittgenstein 1966, 29]). We then dream of a psychological science of aesthetics, where—although “we'd not thereby have solved what we feel to be aesthetic puzzlement” (Wittgenstein 1966, 29)—we may find ourselves able to predict (borrowing the criterion of predictive power from science) what effect a given line of poetry, or a given musical phrase, may have on a certain person whose reaction patterns we have studied. But aesthetic puzzlement, again, is of a different kind, and—here he takes a major step forward, from the critical, to the constructive, phase of his lectures. He writes, “What we really want, to solve aesthetic puzzlements, is certain comparisons—grouping together of certain cases” (Wittgenstein 1966, 29).  Such a method, such an approach, would never so much as occur to us were we to remain both dazzled by the misappropriated model of mechanics and contemptuous of the particular case.