finally, also the lyrical poem proper, the mere song, in which the deeply felt mood of the present, and the impression of the surroundings, as if involuntarily, pours itself forth in words, whose metre and rhyme come about of their own accord—that all these, I say, have the great advantage of being purely the work of the ecstasy of the moment, the inspiration, the free movement of genius, without any admixture of intention and reflection; hence they are through and through delightful and enjoyable, without shell and kernel, and their effect is much more inevitable than that of the greatest works of art, of slower and more deliberate execution. In all the latter, thus in great historical paintings, in long epic poems, great operas, &c., reflection, intention, and deliberate selection has had an important part; understanding, technical skill, and routine must here fill up the gaps which the conception and inspiration of genius has left, and must mix with these all kinds of necessary supplementary work as cement of the only really genuinely brilliant parts. This explains why all such works, only excepting the perfect masterpieces of the very greatest masters (as, for example, “Hamlet,” “Faust,” the opera of “Don Juan”), inevitably contain an admixture of something insipid and wearisome, which in some measure hinders the enjoyment of them. Proofs of this are the “Messiah,” “_Gerusalemme liberata_,” even “Paradise Lost” and the “Æneid;” and Horace already makes the bold remark, “_Quandoque dormitat bonus Homerus_.” But that this is the case is the consequence of the limitation of human powers in general. The mother of the useful arts is necessity; that of the fine arts superfluity. As their father, the former have understanding; the latter genius, which is itself a kind of superfluity, that of the powers of knowledge beyond the measure which is required for the service of the will. Chapter XXXV.(19) On The Æsthetics Of Architecture.