From the second half of the 1940's to the first half of the 1960's, as is generally known, the linguistic analytic method has dominated over Anglo-American aesthetics. Recently this aesthetics, now colled anaylitic aesthetics, has been retrospected and reexamined by the various sides. Then, we also would like to analyze and loom up its primitive figure, focussing on the William Elton (Ed.) ; Aesthetics and Language (1954). In our view, analytic aesthetics can be characterized by the following three aspects, that is, its presupposition, theme and aim. (1) Analytic aestheics presupposes that the aesthetic discourse must be fundamentally empirical scientific, and based on the fact or its experience. (2) Its main theme is to analyze the ambiguous concepts and propositions, and to clarify the aesthetic discourse. (3) Its final aim is to take up the position that there is no such thing as essence in art and, therefore, no criterion for the judicial criticism. And J. A. Passmore once called aesthetics which searches for essence or the general properties dreary. Our conclusion, however, is that not aesthetics proper but analytic asethetics is dreary, for the latter never affords any insights about aesthetic or artistic phenomena.