A further necessary limitation of the art's appearance is this that the content must, on the one hand, not be embraced in relations applicable to mere _thinking_, whether that of science or speculative philosophy, nor further in the form of inarticulate _emotion_, or with a clarity and self-sufficiency which appeals _exclusively_ to the organs of sense;[6] neither, in another direction, must it suffer the idea to pass entirely into what we may in general terms describe as the contingency, divisions, and relativity of _finite_ reality. The imagination of the poet in this respect must maintain a middle course between the abstract universality of pure thinking and the concrete corporeality of material objects, in so far as we are acquainted with the latter in the productions of the plastic arts. Furthermore such an art must generally conform to the requirements we have, in an early section of this work, insisted as essential to every art-product. In other words, the art itself must find in its content the adequate object of its appearance, must elaborate everything, which it embraces, so far as the interest appeals to the intelligence simply,[7] as an essentially independent and self-exclusive world. Only in so far as it does this is the demand of art satisfied, and the content thereof becomes, by virtue of the specific mode of _its_ manifestation, an organic whole, which in its parts presents the appearance of a limited association and ideal synthesis, while at the same time, as contrasted with the world of accidental subordinations, its consistency is one of essential freedom, a whole made explicit through itself. 3. The last point to which we must in conclusion draw attention in respect to this distinction between poetry and the other arts is connected with the different mode under which the imagination of the poet substantiates its ideas in the objective medium of its exposition. The arts hitherto considered were entirely serious in their attachment to the material of sense, a medium in which they themselves were operative, in so far as they merely bestowed on their content a form, which could be throughout accepted and elaborated by means of conglomerations of material substance, whether bronze, marble, or wood, or the media of colour and tones.[8] In a certain sense, no doubt, poetry also has to meet a condition somewhat similar. That is to say, in poetical composition we must not overlook the fact that its results have to be intelligible to mind by means of the communication of human speech. But we shall find none the less that the situation in the two cases is essentially altered.