FIGURES AND MOODS OF THE SYLLOGISM 327 



one of its universal premisses were reduced to the corresponding 

 subaltern or particular proposition. 



The eight strengthened moods are : 



(A A I) and (E A O) in the first figure 

 (E A O) and (A E O) in the second figure 

 A A I and E A O in the third figure 

 A A I and E A O in the fourth figure. 



It will be noticed that of these eight, four are subaltern moods 

 and four are named moods. Thus, of the five subaltern moods, 

 (A E O), Camenop, in the fourth figure, is the only one which is 

 not also a strengthened mood. 



The named strengthened moods are Darapti and Felapton 

 in the third figure, Bramantip and Fesapo in the fourth. Every 

 strengthened mood has some term unnecessarily distributed in 

 its premisses. Thus, Darapti, Felapton, and Fesapo, each distribute 

 the middle term twice ; while Bramantip distributes the major 

 term in the major premiss and not in the conclusion. In Darapti 

 and Felapton we may reduce either premiss to its subaltern, thus 

 giving us the &quot; fundamental &quot; moods Disamis or Datisi from 

 the former, Bocardo or Ferison from the latter. In Bramantip 

 we may reduce the major premiss, thus obtaining Dimaris ; 

 and in Fesapo we may reduce the minor premiss, thus obtaining 

 Fresison. 



In opposition to the eight strengthened moods, the remaining 

 sixteen are called &quot; FUNDAMENTAL&quot; MOODS. 



A Fundamental Syllogism is one in which neither extreme 

 is distributed in the premisses unless it is also distributed in the 

 conclusion, and in which the middle term is distributed once only. 

 In other words, it is a syllogism in which no term is unnecessarily 

 distributed. 



Summing up the results of the preceding and present sections, 

 we see that of the twenty-four valid moods : 



(1) Nineteen are &quot; named &quot; or&quot; original,&quot; and five &quot; subaltern &quot; ; 



(2) Sixteen are &quot; fundamental&quot; (fifteen named and one 

 subaltern), and eight &quot;strengthened&quot; (fpur named and four sub 

 altern). 



164. DIRECT DETERMINATION OF THE VALID MOODS IN 

 EACH FIGURE. The way we have determined the nineteen 

 valid and useful moods out of the sixty-four (161), is only 

 one of many alternative ways. It is a more or less mechanical 

 method, simple and easy to follow. We might reach the same 



