When we come to the work of art, this harmony is already achieved. But for the artist it is something delicately to be worked out. Yet, just as in ordinary expression form and content often emerge in unison, the thought itself being a word and the word a thought; so in artistic creation, the mother mood out of which the creative act springs, finds immediate and forthright embodiment in a congenial form. Such a spontaneous and perfect balance of matter and form is, however, seldom achieved without long and painful experimentation and practice, both by the artist himself in his own private work, and by his predecessors, whose results he appropriates. Large traditional and oftentimes rigid forms, such as the common metrical and musical schemes and architectural orders, into which the personal matter of expression may aptly fall, are thus elaborated in every art. As against every looser and novel form, they have the advantages first, of being more readily and steadily held in the memory, where they may gather new and poignant associations; second, of coming to us already freighted with similar associations out of the past; and last, of compelling the artist, in order that he may fit his inspiration into them, to purify it of all irrelevant substance. Impatient artists rebel against forms, but wise ones either accommodate their genius to them, until they become in the end a second and equally spontaneous nature, or else create new forms, as definite as the old. CHAPTER VI THE PROBLEM OF EVIL IN AESTHETICS, AND ITS SOLUTION THROUGH THE TRAGIC, PATHETIC, AND COMIC When, in our third chapter, we defined the purpose of art, we indicated that it was broad enough to include the expression of evil, but we did not show in detail how this was possible. That is our present theme.