There are three points of essential importance necessary to grasp in connection with such action as is capable of artistic representation, and which we may emphasize as follows. The situation and the resulting conflict is that which generally stimulates it; the active movement, however, taken by itself, the element of difference, that is to say, of the Ideal in its activity, is made apparent first by virtue of the reaction. This movement may be resolved into the following component features: _First_, we have the _universal_[326] _forces_, which constitute the essential content and object, for the sake of which the action takes place. _Secondly_, we have the _realization_[327] of these forces in the _individuals_ who act. _Thirdly_, the two aspects above mentioned have to unite themselves in that which, in default of any better generic term, we will here call _character._ _(a) The Universal Forces of Action_ (_a_) However much we have finally arrived in our consideration of the action at a point where the definition and differentiation of the Ideal is of the first importance, nevertheless the very notion of art renders it necessary that in the sphere of true beauty, be the aspect of it whatsoever it may, it must still have upon it the stamp of the Ideal; it cannot, that is to say, maintain itself without rationality and the justification it implies. Interests of an ideal character must inevitably be in conflict with another, so that might is opposed to might. These interests are, in fact, the eternal and universal forces of spiritual existence, the essential cravings of the human heart, the spontaneous and inevitable objects of human action, justifiable and rational in virtue of their own character, and consequently the very universal powers to which we have referred. They are indeed not the absolute Divine itself, but rather the sons of the one absolute Idea[328], and consequently dominant and valid. They are the children of the one universal truth, albeit only determinate, particular moments of the same. Through their very distinction, it is true, they can fall into contradiction or disunion, yet despite all the element of difference contained, they must possess the original essentiality within them in order to appear as the determinate Ideal. Such are the supreme motive forces of art. They are the eternal[329] religious and ethical modes of relationship, status, personal character[330], and in the world of romance, before everything else, honour and love. In the particular grade of their significance these powers differ, but all are essentially the product of reason. At the same time it is these powers in the human heart and mind, which man, by virtue of his humanity, is bound to recognize, to give free play to, and to actualize. At the same time they ought not directly to appear as rights in positive legislation. For, to take one reason, the form of positive legislation,