(_ββ_)_Secondly_, if we look at the way in which epic poetry may be justified in its _motivisation_ of the progress and course of events, we shall find that it ought not either exclusively to take the ground of what happens from the individual mood, nor yet from what is purely personal character. In other words, it should not encroach upon what is the proper sphere of the lyric and drama; it must, in this respect too, adhere to the form of objectivity which constitutes the fundamental epic type. We have, in fact, seen more than once previously that external conditions were of no less importance, for an exposition that takes the form of narrative, than states of soul which revealed character. In the Epos character and the necessary rational condition coalesce completely on terms of equality, and the epic character may therefore give way to external conditions, without impairing his poetic individuality, may be, in short, in his action, the result of relations in such a way that these appear as the predominant factor rather than the exclusively effective character as we find it in the drama. We find in the Odyssey that the progress of events is almost entirely motived in this way. We find the same thing in the adventures of Ariosto and other Epopees, where the material of the song is borrowed from the the Middle Ages. The divine command, too, which induces Æneas to found Rome, no less than the varied episodes which extend its embrace over a wide field, would involve a type of motivisation wholly uncongenial to the drama. A further illustration of this is Tasso's "Jerusalem Delivered," in which, quite apart from the brave antagonism of the Saracens, many a natural event is opposed to the object of the Christian host. Such examples might be indefinitely multiplied from almost all the more famous Epopees. And, indeed, it is precisely material of this kind, in which an exposition of this type is possible and necessary, that the epic poet ought to select.