(_ββ_) _Secondly,_ since the composition is presented under the form of _natural_ phenomena, the unity must, in order to preserve the vital appearance of such reality, only be the _ideal_ bond, which to all appearance without intention holds together the parts and includes them in an organic whole. It is just this animating union of organic life which alone is able to bring into being true poetry as contrasted with the expressed intention of plain prose. That is to say whenever particularity exclusively appears as means to a definite end, it does not possess and cannot conceivably possess an independent and unique vitality of its own; what it does testify to, on the contrary, is that it exists for the sake of something else, that is the end proposed. Purpose of this type declares its sovereignty over the objective facts through which it is fulfilled. An artistic composition should, however, confer upon all that is particular within it, all in the expatiation of which it displays continuously the central and fundamental content selected, the appearance of an unfettered stability. This is absolutely necessary, because what we here comprise under the term particularity is just that content itself under the mode of the reality which corresponds with it. We may therefore recall to our minds the analogous task of speculative thought, which in the same way has on the one side to develop the particular to the point of self-subsistency or freedom from that which is at first an indefinite universality; and likewise, too, it is called on to demonstrate how within this totality of what is particular, in which that and that only is divulged which essentially reposes in the universal, the unity is on this very account once more asserted, and indeed then and only then is truly concrete unity, established through its own differences and their mediation. Speculative philosophy is thus, in the same way, through the method of dialectic above adverted to, responsible for works which resemble in this respect those of poetry, containing, that is, by virtue of the content, an essential identity of self-seclusiveness and a revelation of differentiated material in accord with it. We must, however, despite this similarity between these two activities, and apart from the obvious difference between the evolution of pure thinking and creative art, draw attention to a further essential distinction. The deduction of philosophy no doubt vindicates the necessity and actuality of particularity, but none the less, in virtue of the dialectic process in which this aspect of reality is asserted, it is expressly demonstrated of this particularity and all of it, that it for the first time discovers its truth and its stability in the concrete unity.[8] Poetry, on the contrary, does not proceed to any such express demonstration. The concordant unity must no doubt be completely vindicated in every one of its creations, and be operative there in all their manifold