It is obvious that what is affected by poetry of this character is our _will_, and not merely our intellectual powers pure and simple. The word _interest_ means, therefore, that which arouses the concern of the individual will, _quod nostrâ interest_; and here it is that beauty is clearly distinguished from interest. The one is an affair of the intellect, and that, too, of the purest and simplest kind. The other works upon the will. Beauty, then, consists in an apprehension of ideas; and knowledge of this character is beyond the range of the principle that nothing happens without a cause. Interest, on the other hand, has its origin nowhere but in the course of events; that is to say, in the complexities which are possible only through the action of this principle in its different forms. We have now obtained a clear conception of the essential difference between the beauty and the interest of a work of art. We have recognised that beauty is the true end of every art, and therefore, also, of the poetic art. It now remains to raise the question whether the interest of a work of art is a second end, or a means to the exhibition of its beauty; or whether the interest of it is produced by its beauty as an essential concomitant, and comes of itself as soon as it is beautiful; or whether interest is at any rate compatible with the main end of art; or, finally, whether it is a hindrance to it. In the first place, it is to be observed that the interest of a work of art is confined to works of poetic art. It does not exist in the case of fine art, or of music or architecture. Nay, with these forms of art it is not even conceivable, unless, indeed, the interest be of an entirely personal character, and confined to one or two spectators; as, for example, where a picture is a portrait of some one whom we love or hate; the building, my house or my prison; the music, my wedding dance, or the tune to which I marched to the war. Interest of this kind is clearly quite foreign to the essence and purpose of art; it disturbs our judgment in so far as it makes the purely artistic attitude impossible. It may be, indeed, that to a smaller extent this is true of all interest. Now, since the interest of a work of art lies in the fact that we have the same kind of sympathy with a poetic representation as with reality, it is obvious that the representation must deceive us for the moment; and this it can do only by its truth. But truth is an element in perfect art. A picture, a poem, should be as true as nature itself; but at the same time it should lay stress on whatever forms the unique character of its subject by drawing out all its essential manifestations, and by rejecting everything that is unessential and accidental. The picture or the poem will thus emphasize its _idea_, and give us that _ideal truth_ which is superior to nature.