The whole of this theory may be summed up in the double meaning of the word so admirably chosen to designate our esthetic functions. The word _Art_ is a remarkable instance of the popular instinct from which language proceeds, and which is far more enlightened than educated persons are apt to suppose. It indicates, however vaguely, a sense of the true position of Poetry, midway between Philosophy and Polity, but with a closer relation to the latter. True, in the case of the technical arts the improvements proposed are practically realized, while those of the fine arts remain imaginary. Poetry, however, does produce one result of an indirect but most essential kind; it does actually modify our moral nature. If we include oratory, which is only Poetry in a simpler phase, though often worthless enough, we find its influence exerted in a most difficult and critical task, that of arousing or calming our passions; and this not arbitrarily, but in accordance with the fixed laws of their action. Here it has always been recognized as a moral agency of great power. On every ground, then, Poetry seems more closely related to practical than to speculative life. For its practical results are of the most important and comprehensive nature. Whatever the utility of other arts, material, physical, or intellectual, they are only subsidiary or preparatory to that which in Poetry is the direct aim, moral improvement. In the Middle Ages it was common in all Western languages to speak of it as a Science, the proper meaning of the word Science being then very imperfectly understood. But as soon as both artistic and scientific genius had become more fully developed, their distinctive features were more clearly recognized, and finally the name of Art was appropriated to the whole class of poetic functions. The fact is, at all events, an argument in favour of the Positive theory of idealization, as standing midway between theoretical inquiry and practical result. [Art calls each element of our nature into harmonious action]