Now the untrained mind appreciates the dynamic aspect of literature, whether it be the originative mind or the mind of the reader. This explains the output and the popularity of the thrilling tale of adventure. At its lowest we find the Penny Dreadful. Through Stanley Weyman and Dumas we move towards Conrad and Meredith and Hardy, where the dynamic element is thrillingly present (as present it must be indeed even in the most quiet essays) but where it is subordinated to a clear vision of the permanent and eternal which we have mis-termed static. In poetry this truth is obvious. Even in drama, though our attention is distracted by the action, it is the chief quality if the drama is really great. In Sophocles, in Euripides, in Shakespeare; perhaps almost too consciously in Galsworthy, and Paul Claudel and Synge, for conscious art loses the sincerity of a first vision; it is not the episodic sequence that interests us, except from the point of view of technique. Our attention is focussed upon the motive, the fundamental intuition to which the dramatist is trying to give technical expression. Moreover in all the infinite variety of literary art the motive is the same. One definite intuition is expressed--that of relationship; relation between person and person, relation between person and machine, relation between person and some ever-ruling Order, be it Fate, Chance, or God also personal. It is the reality of personal inter-relationship that underlies all literature, be it love-poem, novel, or some drama of Fate in which personal relationship is overshadowed by the impersonal, or at least the unsympathetic; or else it is the one-sided relation of a person to a thing, as in descriptive science, which has only the beauty of order. But can we say that the intuition which the pictorial artist represents is the same as this? Hardly, unless the picture tells a story; and in so far as it does this we feel that the realm of pictorial art is invaded by an alien influence. It may at first sight seem surprising that art should not gain by the introduction of various intuitions of relation; that it does not, as a rule, is certain. All the arts overlap; we shall see the most marked example of this when we come to consider music and deal further with this point; but intrinsically each is peculiar in its scope and method.