  Thus far, Gottsched has not made special use of Wolffian terms. His ensuing discussion of the “good taste of a poet” is more explicitly Wolffian. Gottsched begins by characterizing taste in its literal sense—the taste of food or drink—as a form of representation “that for all of its clarity has nothing distinct in it.” He then states that in its “metaphorical” sense taste is always associated with the “liberal arts and other sensible things,” such as “poetry, oratory, music, painting, and architecture, likewise in dress, gardens, household furnishings, etc.,” not with subjects “where it is a matter of reason alone” and “where it is possible to make the strictest demonstrations from distinctly cognized fundamental truths,” such as “arithmetic and geometry or other sciences” (Schriften, pp. 60–1).  Thus “metaphorical as well as ordinary taste has to do only with clear but not entirely distinct concepts of things, and distinguishes from one another the sort of things that one judges in accordance with mere sensation.” However, although it follows from the fact that judgments of taste are made on the basis of “clear but not entirely distinct concepts” that “people who judge merely on the basis of taste” can arrive at opposite conclusions, Gottsched holds that such opposed judgments cannot both be true, and that there must be a true fact of the matter to which one but not the other of them corresponds. In other words, although judgments of taste are made on the basis of clear but indistinct concepts, which is to say sensory perceptions and feelings rather than clear and distinct concepts, they nevertheless