It is this same end which Castelvetro (1570) ascribes to poetic art. For Castelvetro, as in a lesser degree for Robortelli also, the end of poetry is delight, and delight alone.[100] This, he asserts, is the position of Aristotle, and if utility is to be conceded to poetry at all, it is merely as an accident, as in the tragic purgation of terror and compassion.[101] But he goes further than Aristotle would have been willing to go; for poetry, according to Castelvetro, is intended not merely to please, but to please the populace, in fact everybody, even the vulgar mob.[102] On this he insists throughout his commentary; indeed, as will be seen later, it is on this conception that his theory of the drama is primarily based. But it may be confidently asserted that Aristotle would have willingly echoed the conclusion of Shakespeare, as expressed in _Hamlet_, that the censure of one of the judicious must o'erweigh a whole theatre of others. At the same time, Castelvetro's conception is in keeping with a certain modern feeling in regard to the meaning of poetic art. Thus a recent writer regards literature as aiming "at the pleasure of the greatest possible number of the nation rather than instruction and practical effects," and as applying "to general rather than specialized knowledge."[103] There is, then, in Castelvetro's argument this modicum of truth, that poetry appeals to no specialized knowledge, but that its function is, as Coleridge says, to give a definite and immediate pleasure.