(_B_) In direct contrast to epic poetry we have our _second_ type, that namely of _lyrical_ poetry. Its content is that within ourselves, the ideal world, the contemplative or emotional life of soul, which instead of following up actions, remains at home with itself in its own ideal realm, and, consequently, is able to accept _self-expression_ as its unique and indeed final end. Here we have, therefore, no substantive totality, self-evolved as external fact or event, but the express outlook, emotion and observation of the individual's self-introspective life shares in what is substantive and actual therein as its own, as its passion, mood or reflection; we have here the birth of its own loins. Such a fulfilment and ideal process is not adequately realized in a mechanical delivery such as we saw was conceded as appropriate to epic poetry. On the contrary the singer must give utterance to the ideas and views of lyrical art as though they were the expression of his own soul, his own emotions. And inasmuch as it is this _innermost world_, which the delivery has to animate, the expression of it will above all lean to the musical features of poetical reproduction; whether permitted as an embellishment or a necessity we shall here meet with the varied modulation of the voice, either in recitation or song, and the accompaniment of musical instruments. (_C_) Our _third_ and final mode of poetical composition unites the two previous ones in a new totality. In this we not only discover an _objective_ exposition, but also can trace its source in the ideal life of particular people; what is objective here is therefore portrayed as appertinent to the conscious life of individuals.[7] To put the case conversely, the conscious life of individuals is on the one hand unfolded as it passes over into actual life experience, and on the other as involved in the fatality of events, which brings about passion in causal and necessary connection with the individual's own action. We have here, therefore, as in Epic poetry, an action expanded to our view in its conflicts and issues; spiritual forces come to expression and battle; the element of contingency is everywhere involved, and human activity is either brought into contact with the energy of an omnipotent destiny, or a directive and world-ruling Providence. Human action, however, does not here only pass before our vision in the objective form of its actual occurrence, as an event of the Past resuscitated by the narrative alone; on the contrary, it is made to appear as actually realized in the particular volition, morality or immorality of the specific characters depicted, which thereby become central in the principle of _lyric_ poetry. Add to this, however, that such individuals are not merely disclosed in their inner experience as such; they also declare themselves in the execution of passion directed to ends; whereby they offer a criterion--in the way that