The motives of Shakespeare's poetry having been described, there is no occasion for the further question as to the way in which he has made of them concrete poetry, in other words, as to the _form_ he gave to that affective content. Form and content cannot be separated from one another and considered apart. For this reason, everything remarked of Shakespeare's poetry, provided that it is something real and well observed, must be either a repetition applied to Shakespeare of the statement as to the characteristics, that is to say, the unique character of all poetry, or a description in language more or less precise, beneath the title of "formal characteristics," of what constituted the physiognomy of the sentiment or sentiments of Shakespeare, thus returning to that determination of motives, of which we have treated above. Still less can we engage in an enquiry as to the _technique_ of Shakespeare, because the concept of technique is to be altogether banished from the sphere of aesthetic criticism, technique being concerned solely with the practical purposes of extrinsication, such as for poetry would be the training of a reciter's voice, or the making of the paper and the type, with which it is printed. There is no trade secret in Shakespeare, which can be communicated, no "part" that "can be taught and learned" (as has been maintained); in the best sense "technique" has value as a synonym of artistic form and in that way returns to become part of the dilemma above indicated. Easy confirmation of this fact is to be found in any one of the many books that have been written on the "form" or on the "technique" of Shakespeare. Take for example the most intelligent of all, that by Otto Ludwig, written with much penetration of art in general and of Shakespearean art in particular, which contains the words that have been censured above. There we read, that in Shakespeare "everything is individualised, and at the same time idealised, by means of loftiness and power: every speech accords with the sentiment that has called it forth, every action with the character and situation, every character and situation depends upon every other one, and both upon the individuality of the time; every speech and every situation is yet more individualised by means of time and place, even by means of natural phenomena; in such a way that each one of his plays has its own atmosphere, now clearer, now more dark."