“What then does the formula ‘Poetry for Poetry’s sake’ tell us about this experience? It says, as I understand it, these things. First, this experience is an end in itself, is worth having on ifs own account, has an intrinsic value. Next, its _poetic_ value is this intrinsic worth alone. Poetry may have also have an ulterior value as a means to culture or religion; because it conveys instruction or softens the passions, or furthers a good cause; because it brings the poet fame, or money, or a quiet conscience. So much the better: let it be valued for these reasons too. But its ulterior worth neither is nor can directly determine its poetic worth as a satisfying imaginative experience; and this is to be judged entirely from within. . . . The consideration of ulterior ends whether by the poet in the act of composing or by the reader in the act of experiencing, tends to lower poetic value. It does so because it tends to change the nature of poetry by taking it out of its own atmosphere. For its nature is to be not a part, nor yet a copy of the real world (as we commonly understand that phrase) but to be a world by itself, independent, complete, autonomous[33].” There seem four points well worth close consideration here. The first is that the things mentioned as possible ulterior values in Dr Bradley’s list—culture, religion, instruction, softening of the passions, furtherance of good causes, the poet’s fame, or money, or quiet conscience—these things are plainly upon quite different levels. He says of all of them that they cannot possibly determine the poetic worth of an æsthetic experience; that whether or no any poetic experience is poetically valuable cannot depend upon any of these ulterior values. But it is certain that some of these stand in a quite different relation to the poetic experience than do others. Culture, religion, instruction in some special senses, softening of the passions, and the furtherance of good causes may be directly concerned in our judgments of the _poetic_ values of experiences. Otherwise, as we shall see, the word ‘poetic’ becomes a useless sound. On the other hand, the poet’s fame, his reward, or his conscience, seem plainly to be irrelevant. That is the first point.