(_γ_) In conclusion then we may affirm that every genuine work of poetry is an essentially infinite organism.[16] In content rich, it unfolds this content under a mode of appearance which is adapted to it. It is permeated with a principle of unity, but not one referable to the form of utility, which subordinates the particular to itself in an abstract relation, but rather one that absorbs the same in the singularity relevant to one identical and entirely vital self-consistency, in which the whole, without any visible intention, is sphered within one rounded and essentially self-enclosed completeness. It is indeed replete with the _materia_ of the visible world, but is not on that account placed, either in relation to its content or determinate existence, under a condition of dependence to any one circle of life. Rather it freely creates out of its own plenitude, striving to clothe the ideal notion of its material in its genuine manifestation as truth, and to bring the world of external fact into reconciled accord with its own most ideal substance. 3. THE CREATIVE IMPULSE OF THE POET[17] I have already discussed at considerable length, in the first part of this work, the talent and genius, the enthusiasm and originality of the artist. I will consequently merely touch upon one or two points in the present reference to the art of poetry which appear of importance, if we contrast this activity as effective here with that operative in the plastic arts and music. (_a_) The architect, sculptor, painter and musician have to deal with an entirely concrete and sensuous material, in and through which each has to elaborate his creations. The limitations of this material condition the specific form that the type of the conception no less than the mode of artistic execution assume. The more fixed and predetermined the general lines of his definition are upon which the artist has to concentrate himself, the more specialized becomes the talent required for the assertion of the same in any one and no other mode of presentment; and we may add in the powers of technical execution which accompany it. The talents adapted to the poetic art, regarding the same from the point of view of an ideal envisagement in a specific _materia_, is subordinated in a less degree to such conditions; it is consequently more open to universal practice, and in this respect more independent. The need here at least is merely that of a gift for imaginative creation. Its limitation is confined merely to this, namely, that for the reason that this art is expressed in language, it has to guard itself on the one hand from deliberate rivalry with external objects in their sensuous completeness, in the form, that is, where we find the plastic artist apprehends his subject-matter in its external configuration: and, from a further point of view, it is unable to rest in the unspoken ideality, the emotional tones of which constitute the realm of music. In these respects the