(_γγ_) Despite of this self-subsistency, however, these several parts must remain likewise in conjunction to the extent that the _one_ fundamental motive or purpose, made explicit and manifest in and through them, must declare itself as the unity which pervades the whole, and in which the parts coalesce and to which they return. This is the condition of art, and pre-eminently so of poetry, where it falls short of its noblest reach, upon which it most readily is wrecked, and the work of art declines from the realm of a free imagination into that of mere prose. To put it in another way, the connexion into which the parts fall must not merely be one of final _cause and effect._ For in the relation of teleology the end is the universal as essentially presupposed and willed, which it is true succeeds in making the several aspects tally with the process, yet employs them none the less as means and to this extent robs them of all really free stability and thereby of every sort of vitality. In such a case the parts merely fall under a relation of purpose to one end, which is asserted imperiously to the disadvantage of all else, and which accepts the same in abstraction as subservient and subordinate to itself. The freedom and beauty of art contradict flatly this servile relation of the abstract faculty of science. (_γ_) On these grounds the unity, asserted in the several parts of the composition, must be of another character. The definition of this may be stated under two aspects of conception, as follows.