THE ART-PRINCIPLE IN POETRY 205 



first the mechanical arts, and the second, after Schel- 

 ling, the esemplastic — those that form a manifold 

 into unity for the sake of the unity. And let us note 

 distinctly that the real difference between the two 

 classes is this : a mechanical whole (so-called) is 

 nothing but a means to something beyond it, while 

 a whole of imagination is not a means at all, but 

 strictly an end. In short, the mechanical arts do 

 not result in true wholes. Every mechanical art is 

 after all only a contributing part to the real whole 

 that comes into existence in the realm of the esem- 

 plastic arts alone — the realm of the fine arts. 



Nor may we omit the important fact, that the dis- 

 tinction between the mechanical and the fine arts is 

 not really a distinction into separate classes, but a dis- 

 tinction of order, or gradation, in the elements of one 

 indivisible system. The products of niechanism are 

 doubtless in most instances separate material objects, 

 but these are never finalities. They are, as was said, 

 only means to some want in our rational nature, and 

 thereby get their justification ; or else they receive 

 their condemnation, and eventual dismissal from the 

 world as man will have it, because of their lack of 

 such service to reason. The rational ends, it is the 

 function of fine art, in conjunction with religion and 

 science, to express ; and it must be borne in mind 

 that the mechanical enters into every fine art, and is 

 indispensable to its existence and completion. 



