exceptional nature have to be overcome when the attempt is made to place an action or event of varied nature before our vision, and where in actual life such happen in a single moment of time, and in close connection with such immediacy, for all it can do is to present the same in a continuous series. As respects this difficulty, no less than the general way in which poetry, as already described, approaches the detail of Nature, we find the demand of the several generic types of the art differs very considerably. Epic poetry, for instance, attaches itself to the particularity of the external world with an emphasis totally different from that of dramatic poetry, with its rapidity of forward movement, or from that of lyrical poetry with its exclusive insistence on the ideally significant. (_ββ_) It is through an elaboration of this kind that the several parts of a composition secure _subsistency._ No doubt this appears to stand in direct contradiction to the unity which we established as a primary condition: as a matter of fact the opposition is merely apparent. This independence should not, that is to say, assert itself in such a way that the several parts are placed in absolute separation from each other: it must on the contrary only be carried so far that the several aspects and members of the whole are clearly seen on their own account to be asserted in the vital form peculiar to each, and to stand on their own free basis of independence. If, on the contrary, this individualized life is absent from the several parts, the composition becomes, precisely as Art generally can only invest the universal with determinate existence under the form of actual particularity, cold and defunct.