So again, in the creatively artistic life, we can have a Dante writing prose and poetry and painting a picture, and a Rafael painting pictures and writing sonnets; or we can have Wagner bringing all his activities of scholar, poet, painter, musician, stage-manager,--each retaining, and indeed indefinitely increasing, its specific character and capabilities,--to contribute, by endless mutual stimulation and interaction, to something other and greater than any one of them individually or even than the simple addition of them all,--to a great Music-Drama and multiform yet intensely unified image of life itself. And an organist can draw out, as he plays, the _Vox Humana_ stop, and then another and another limitedly efficacious organ-stop, whilst each new-comer takes the place of its predecessor or a place beside it; or he can draw out the _Grand Jeu_ stop, which sets all the other stops to work in endless interaction, with itself permeating and organizing the whole. We thus, in these and countless other cases, and in every variety of degree within each case, get two kinds of variety, what we may call the simple and the compound diversification. And everywhere we can find that the richest variety not only can co-exist with, but that it requires and is required by, indeed that it is a necessary constituent and occasion of, the deepest and most delicate unity.[168] (3) And finally, as to a State of Pure Love. Only here do we reach the class of questions to which the condemnations of Fénelon really apply.