We must point out, however, that here too we are limited by essential conditions. For just as in our previous discussion it was the world-history, so too now, from the converse point of view, it is possible that the biographical treatment in a poetic composition of a definite life-history may appear to supply the most complete and adequate subject-matter of the Epos. This, however, is not the case. No doubt in biography the individual is one and the same throughout; but the events, through which the life-development proceeds, may entirely fall apart, and only retain the subject of the same in a wholly formal and accidental bond of relation. If, on the other hand, the Epos is essentially homogeneous, the event also, in the form of which the content of the poem is disclosed, must itself possess intrinsic unity. Both aspects, in short, the unity of the individual and that of the objective event, as it is evolved, must coalesce and be united. In the life and exploits of the Cid it is unquestionably true that on the field of the Fatherland it is only one great personality which without intermission remains true to himself, and in his development, chivalry and end constitutes the interest. His deeds pass before him, much as if he were the sculptured god; and finally all is gone and vanished for us, no less than for himself.[15] But the poems of the Cid are also as rhymed chronicles no genuine example of the Epos; and, in their later form of romances, they are, as their specific type necessitates, merely isolated situations split off from this national hero's life, which do not necessarily coalesce in the unity of a particular event. The finest examples, however, of the observance of the above rule are to be met with in the Iliad and Odyssey, where Achilles and Odysseus are respectively the prominent figures. The Ramajana, too, resembles these poems in this respect. Dante's "Divine Comedy" is an illustration, but in quite a unique way. In other words, it is the Epic poet himself with whose single personality, in his wanderings through hell, purgatory, and paradise, all and everything is so associated that he is able to recount the picture of his imagination as a personal experience, and is consequently entitled to interweave with the general substance of his composition his private emotions and reflections to a larger extent than is possible for other epic poets.