(_γ_) By means of this diversity of national traits and the evolutionary process of the centuries we find that what is shared by all mankind alike, no less than all that claims to be artistic, is drawn as a common element within the reach of other nations and epochs, intelligible and enjoyable to the same. It is in this twofold connection that of late years to an exceptional degree Hellenic poetry has roused the admiration and imitation of most diverse nationalities. And this is so because in the content of it no less than in the artistic form it receives the simply human is disclosed with most beauty. The literature of India itself, however, despite all the difficulties attendant on an outlook and artistic expression so alien to our own, is not wholly outside our sympathy; and the boast is no empty one that in our modern era pre-eminently a keen sense for all that art and the human spirit embraces in every direction has begun to unfold itself. Were we in our present investigation of this impulse toward individualization, pursued so persistently by poetry, under the aspects we have already described, to restrict the same to a _general_ treatment of the art of poetry, such a generalization, however established, could not fail to be abstract and devoid of content. It is therefore of first importance, if our object be to consider poetry of a really genuine type, that we include in our survey the forms of the creative spirit as presented in their national form, the unique product of one age; and further we must not overlook the individuality which creates, the soul of the poet. Such, then, are the main points of view to which I would draw attention by way of a general introduction to poetical creation and conception. 2. THE ART-PRODUCT OF POETRY AND PROSE Poetry is not, however, exhausted by the imaginative idea alone: it must necessarily proceed to make itself articulate and complete in the _poetical work of art._ Such an object of study opens a large field of investigation. We may conveniently arrange and classify the course of our discussion as follows: _First,_ we shall endeavour to point out what is of most importance relatively to the _poetical composition generally._ _Secondly_, we shall distinguish it from the principal types of _prose composition_, in so far as the same are compatible with artistic treatment. We shall then, _finally_ be in a position to deduce with some completeness the notion of the _free art-product._ (_a_) In respect to the poetical work of art under its generic aspect all that is necessary is once more to enforce our previous contention that it must, no less than any other production of an unfettered imagination, receive the form and independence of an organic whole. This demand can only receive satisfaction as follows: