As will be seen, Fracastoro's conception of beauty approximates both to the Platonic and to the more purely aesthetic doctrines which we have mentioned; and he expounds and elaborates this aesthetic notion in the following manner. Each art has its own rules of proper expression. The historian or the philosopher does not aim at all the beauties or elegancies of expression, but only such as are proper to history or philosophy. But to the poet no grace, no embellishment, no ornament, is ever alien; he does not consider the particular beauty of any one field,--that is, the singular, or particular, of Aristotle,--but all that pertains to the simple idea of beauty and of beautiful speech. Yet this universalized beauty is no extraneous thing; it cannot be added to objects in which it has no place, as a golden coat on a rustic; all the essential beauty of each species is to be the especial regard of the poet. For in imitating persons and things, he neglects no beauty or elegance which he can attribute to them; he strives only after the most beautiful and most excellent, and in this way affects the minds of men in the direction of excellence and beauty. This suggests a problem which is at the very root of Aristotle's conception of ideal imitation; and it is Fracastoro's high merit that he was one of the first writers of the Renaissance to explain away the objection, and to formulate in the most perfect manner what Aristotle really meant. For, even granting that the poet teaches more than others, may it not be urged that it is not what pertains to the thing itself, but the beauties which he adds to them,--that it is ornament, extraneous to the thing itself (_extra rem_), and not the thing itself,--which seems to be the chief regard of the poet? But after all, what is _extra rem_? Are beautiful columns, domes, peristyles _extra rem_, because a thatched roof will protect us from rain and frost; or is noble raiment _extra rem_, because a rustic garment would suffice? The poet, so far from adding anything extraneous to the things he imitates, depicts them in their very essence; and it is because he alone finds the true beauty in things, because he attributes to them their true nobility and perfection, that he is more useful than any other writer. The poet does not, as some think, deal with the false and the unreal.[47] He assumes nothing openly alien to truth, though he may permit himself to treat of old and obscure legends which cannot be verified, or of things which are regarded as true on account of their appearance, their allegorical signification (such as the ancient myths and fables), or their common acceptance by men. So we may conclude that not every one who uses verse is a poet, but only he who is moved by the true beauty of things--by their simple and essential beauties, not merely apparent ones. This is Fracastoro's conclusion, and it contains that mingling of Platonism and Aristotelianism which may be found somewhat later in Tasso and Sir