THE ART-PRINCIPLE IN POETRY 1 87 



II 



It should next be our business to trace the steps 

 of specialisation by which this trait of art in gen- 

 eral is differentiated into the specific principle of 

 poetry. But before doing this, and in order the 

 better to effect it, I will endeavour to present the 

 theory advanced by Professor Le Conte in a some- 

 what altered and developed form, and from a differ- 

 ent point of view. His theory, seen in the historic 

 relations that show its importance, may be regarded 

 as in the main a fresh outgrowth from the doctrine 

 of Schiller and of Schelling ; and in what I now 

 have to add, I shall follow the principles suggested 

 by Hegel, in his development of the hints furnished 

 by his two great predecessors ; though I shall also 

 feel at great liberty to depart from Hegel's lines, 

 as those conversant with his Aesthetik will readily 

 discern. 



The point of view from which I would now recon- 

 struct our theory of art is this trait of art's being 

 its otvn end, but put in conjunction with another 

 quite constantly implied by Professor Le Conte, and 

 once or twice mentioned in his lecture, though 

 not developed, nor applied in explanation. I mean 

 the trait of literal creativcjiess. In virtue of this, 

 every true work of art is not only a u}iio}i of the 



