(_γγ_) We may extend the reach of poetry yet further and we shall still find that the demand to be met is the same. In other words, all that the art of poetry represents in external local condition, characterization, actions, passions, situations, conflicts, events, and human destiny, all this material is borrowed, far more so in fact than is generally credited, from the facts of life itself. This being so, poetry here too is on the historical arena; and, consequently, its deviations or variations of such data must, in this field also, find their point of departure in the rational core of the facts in question and the demand of the art to discover for this ideal essence a form that exhibits it with greatest adequacy and life. And this must not be sought for in the poverty of a superficial knowledge, an inability to penetrate what is really vital in fact, or in the moods of caprice and with the craving after the quaint or perverse ingenuities of a spurious originality. (_β_) And further, as already stated, oratory is allied to prose on account of the practical end which is thereby proposed, and, to carry out which, it is forced to admit to the full the claims of utility. (_αα_) In this respect poetry must take care to detach itself from any end of this kind outside Art's domain, and the claim of artistic enjoyment simply; that it may not fall into the sphere of prose. For if any purpose of this sort is made to appear of essential importance, as part of the entire conception and presentation, the composition at once descends from that loftier region, in whose free atmosphere it floats on its own account and on no other, and is drawn into that of relation merely. As a result of this we have either a breach made between the fundamental aim of art and the ends of ulterior intendments; or art is used as a means simply, contradicts its substantive notion, and becomes the menial of utility. The edifying effusions of many church hymns are of this character. Particular ideas are simply admitted on religious grounds, and receive a style of composition which is alien to the beauty of poetry. And, speaking generally, poetry, simply as poetry, has no right to edify in a _religious_ sense, or at least _exclusively_ in this sense. If it does so we are carried into a region, which no doubt possesses relationship with both poetry and art, but is for all that distinct from it. We may say the same of teaching generally, ethical instruction, political treatises, or writings of all kinds written for our momentary recreation and enjoyment. All these are objects, to whose attainment the art of poetry is, or can be more than any other, contributory. But such contributions must not enter into the purpose, if the spirit of the work is to assert itself freely in its own character. In the poetical effort it is only what is really poetic, eliminated from all that is foreign to this quality, which must remain paramount as the end proposed and accomplished.