Torquato Tasso, as might be expected, regards poetry in a more highly ideal sense. His conception of the function of poets and of the poetic art may be explained as follows: The universe is beautiful in itself, because beauty is a ray from the Divine splendor; and hence art should seek to approach as closely as possible to nature, and to catch and express this natural beauty of the world.[104] Real beauty, however, is not so called because of any usefulness it may possess, but is primarily beautiful in itself; for the beautiful is what pleases every one, just as the good is what every one desires.[105] Beauty is therefore the flower of the good (_quasi un fiore del buono_); it is the circumference of the circle of which the good is the centre, and accordingly, poetry, as an expression of this beauty, imitates the outward show of life in its general aspects. Poetry is therefore an imitation of human actions, made for the guidance of life; and its end is delight, _ordinato al giovamento_.[106] It must essentially delight, either because delight is its aim, or because delight is the necessary means of effecting the ethical end of art.[107] Thus, for example, heroic poetry consists of imitation and allegory, the function of the former being to cause delight, and that of the latter to give instruction and guidance in life. But since difficult or obscure conceits rarely delight, and since the poet does not appeal to the learned only, but to the people, just as the orator does, the poet's idea must be, if not popular in the ordinary sense of the word, at least intelligible to the people. Now the people will not study difficult problems; but poetry, by appealing to them on the side of pleasure, teaches them whether they will or no; and this constitutes the true effectiveness of poetry, for it is the most delightful, and hence the most valuable, of teachers.[108] Such, then, are the various conceptions of the function of poetry, as held by the critics of the Renaissance. On the whole, it may be said that at bottom the conception was an ethical one, for, with the exception of such a revolutionary spirit as Castelvetro, by most theorists it was as an effective guide to life that poetry was chiefly valued. Even when delight was admitted as an end, it was simply because of its usefulness in effecting the ethical aim.