This recent theory, then, is of no use. It leads back to the difficulties arising from the admission of two characteristics of art, _intuibility_ and _lyricism_, not unified. We must recognize, either that the duality must be destroyed and proved illusory, _or_ that we must proceed to a more ample conception of art, in which that of pure intuibility would remain merely secondary or particular. And to destroy and prove it illusory must consist in showing that here too form is content, and that pure intuition is _itself_ lyricism. Now, the truth is precisely this: _pure intuition is essentially lyricism_. All the difficulties concerning this question arise from not having thoroughly understood that concept, from having failed to penetrate its true nature and to explore its multiple relations. When we consider the one attentively, we see the other bursting from its bosom, or better, the one and the other reveal themselves as one and the same, and we escape from the desperate trilemma, of either denying the lyrical and personal character of art, or of asserting that it is adjunctive, external and accidental, or of excogitating a new doctrine of Aesthetic, which we do not know where to find. In fact, as has already been remarked, what can pure intuition mean, but intuition pure of every abstraction, of every conceptual element, and, for this reason, neither science, history, nor philosophy? This means that the content of the pure intuition cannot be either an abstract concept, or a speculative concept or idea, or a conceptualized, that is historicized, representation. Nor can it be a so-called perception, which is a representation intellectually, and so historically, discriminated. But outside logic in its various forms and blendings, no other psychic content remains, save that which is called appetites, tendencies, feelings, and will. These things are all the same and constitute the practical form of the spirit, in its infinite gradations and in its dialectic (pleasure and pain). Pure intuition, then, since it does not produce concepts, must represent the will in its manifestations, that is to say, it can represent nothing but _states of the soul_. And states of the soul are passionality, feeling, personality, which are found in every art and determine its lyrical character. Where this is absent, art is absent, _precisely because pure intuition is absent_, and we have at the most, in exchange for it, _that reflex_, philosophical, historical, or scientific. In the last of these, passion is represented, not immediately, but mediately, or, to speak exactly, it is no longer represented, but thought. Thus the origin of language, that is, its true nature, has several times been placed in _interjection_. Thus, too, Aristotle, when he wished to give an example of those propositions which were not _apophantic_, but generically _semantic_ (we should say, not logical, but purely Aesthetic), and did not predicate the logically true