Where every trace of personality was really absent, and its place taken by the pedantic quest for human documents, the description of certain social classes and the generic or individual process of certain maladies, there the work of art was absent. A work of science of more or less superficiality, and without the necessary proofs and control, filled its place. There is no upholder of impersonality but experiences a feeling of fatigue for a work of the utmost exactitude in the reproduction of reality in its empirical sequence, or of industrious and apathetic combination of images. He asks himself why such a work was executed, and recommends the author to adopt some other profession, since that of artist was not intended for him. Thus it is without doubt that if pure intuition (and pure expression, which is the same thing) are indispensable in the work of art, the personality of the artist is equally indispensable. If (to quote the celebrated words in our own way) the _classic_ moment of perfect representation or expression be necessary for the work of art, the _romantic_ moment of feeling is not less necessary. Poetry, or art in general, cannot be exclusively _ingenuous_ or _sentimental_; it must be both ingenuous and sentimental. And if the first or representative moment be termed _epic_, and the second, which is sentimental, passionate, and personal, be termed _lyric_, then poetry and art must be at once epic and lyric, or, if it please you better, _dramatic_. We use these words here, not at all in their empirical and intellectualist sense, as employed to designate special classes of works of art, exclusive of other classes; but in that of elements or moments, which must of necessity be found united in every work of art, how diverse soever it may be in other respects.