In a similar way the Epic gives us a more extensive picture of the external world; it even lingers by the way in episodical events and deeds, whereby the unity of the whole, owing to this increased isolation of the parts, appears to suffer diminution. The drama, in contrast to this, requires a more strenuous conjunction, albeit, even in the drama, we find that romantic poetry permits the introduction of a type of variety in the nature of episode and an elaborate analysis of characteristic traits in its presentation of soul-life no less than that of external fact. Lyric poetry, as it changes conformably to the fluctuation of its types, adapts itself to a mode of presentment of the greatest variety: at one time it is bare narration; at another the exclusive expression of emotion or contemplation; at another it restricts its vision, in more tranquil advance, to the central unity which combines; at another it shifts hither and thither in unrestrained passion through a range of ideas and emotions apparently destitute of any unity at all. This, then, must suffice us on the general question of a poetical composition. (_b_) In order now,--this is our _second_ main head in the present discussion,--to examine more closely the distinction which obtains between the organic poem as above considered and the prose composition, we propose to direct attention to those specific types of _prose_ which, despite their obvious limitations, do none the less come into closest affinity with art. Such are, without question, the arts of history and oratory. (_α_) As regards history, there can be no doubt that we find ample opportunity here for _one_ aspect of genuine artistic activity.