They are the skeleton or scaffolding upon or within which the further impulses involved in the communication are supported. They supply the present dependable part of the experience by which the rest, the more erratic, ambiguous part of the imaginative development, is controlled. By themselves (although there has been a natural tendency in criticism to maintain the contrary opinion) they are often quite inadequate. As we have seen, differences of all degrees, both between and within the arts, exist. The fashion in which the poet’s impulses must tally with those of his readers, will now be moderately clear. The poet is in the least favourable position, perhaps, among the artists, but as a compensation the range and fullness of the communications open to him is, if he can overcome the difficulties, very great. But evidently the least eccentricity on his part, either in the responses which he makes to rhythms and verbal tunes, or in the ways in which these govern and modify his further responses or are modified by them, will be disastrous. It is the same for all the arts. A defective or eccentric colour sensibility, a common defect as is well known, may play havoc with an artist’s work, _qua_ communication, without necessarily involving any deficiency of value in his own experience. It is theoretically possible for an individual to develop in himself states of mind of very high value and yet to be so unusual in his own sensibility as to seem ridiculous or be incomprehensible to others. The question then arises as to which is in the right, the artist or his uncomprehending critics. This frequent dilemma raised alike by great innovating artists and by nincompoops brings us back to the problem of normality. To be normal is to be a standard, but not, as things are and are likely to remain, an average; and to inquire into the characters of the norm or to ask who are normal is to raise a question as to value. The artist departs from the average, but so do other people. His departure, however, is one of the reasons why we attend to his work; other people’s departures may be reasons why we should not. What are the main differences which decide whether a departure is a merit or a defect?