Another corollary of the conception of expression as activity is the _indivisibility_ of the work of art. Every expression is a single expression. Activity is a fusion of the impressions in an organic whole. A desire to express this has always prompted the affirmation that the work of art should have _unity,_ or, what amounts to the same thing, _unity in variety._ Expression is a synthesis of the various, or multiple, in the one. The fact that we divide a work of art into parts, a poem into scenes, episodes, similes, sentences, or a picture into single figures and objects, background, foreground, etc., may seem opposed to this affirmation. But such division annihilates the work, as dividing the organism into heart, brain, nerves, muscles and so on, turns the living being into a corpse. It is true that there exist organisms in which division gives rise to other living beings, but in such a case we must conclude, maintaining the analogy between the organism and the work of art, that in the latter case too there are numerous germs of life each ready to grow, in a moment, into a single complete expression. It may be said that expression sometimes arises from other expressions. There are simple and there are _compound_ expressions. One must surely admit some difference between the _eureka,_ with which Archimedes expressed all his joy at his discovery, and the expressive act (indeed all the five acts) of a regular tragedy.--Not in the least: expression always arises directly from impressions. He who conceives a tragedy puts into a crucible a great quantity, so to say, of impressions: expressions themselves, conceived on other occasions, are fused together with the new in a single mass, in the same way as we can cast into a melting furnace formless pieces of bronze and choicest statuettes. Those choicest statuettes must be melted just like the pieces of bronze, before there can be a new statue. The old expressions must descend again to the level of impressions, in order to be synthesized in a new single expression. [Sidenote: _Art as liberator._] By elaborating his impressions, man _frees_ himself from them. By objectifying them, he removes them from him and makes himself their superior. The liberating and purifying function of art is another aspect and another formula of its character as activity. Activity is the deliverer, just because it drives away passivity. This also explains why it is usual to attribute to artists both the maximum of sensibility or _passion_, and the maximum of insensibility or Olympian _serenity._ The two characters are compatible, for they do not refer to the same object. The sensibility or passion relates to the rich material which the artist absorbs into his psychic organism; the insensibility or serenity to the form with which he subdues and dominates the tumult of the sensations and passions. III ART AND PHILOSOPHY [Sidenote: _Inseparability of intellectual from intuitive knowledge._]