 This has important consequences for interpretation. For example, it leads Herder to emphatically reject apriorism as an approach to identifying a work’s genre—certainly the absolute apriorism of refusing in one’s definition of the genre to be guided by an observation of examples at all, but also the more tempting relative apriorism of indeed allowing oneself to be guided by it but restricting the examples considered to a limited number of cases to the exclusion of other ones to which the resulting genre-conception is then to be applied in interpretation. For, in light of the historicist insight just mentioned, even the latter procedure will usually turn out to be disastrously misleading, in Herder’s view.