ng aside their contradictions, to put an end to
all conflict between the feelings of the soul. Thus, the dominant
expression of this kind of poetry would be calm; but the calm that
follows the accomplishment, and not that of indolence--the calm that
comes from the equilibrium re-established between the faculties, and not
from the suspending of their exercise; from the fulness of our strength,
and not from our infirmity; the calm, in short, which is accompanied in
the soul by the feeling of an infinite power. But precisely because idyl
thus conceived removes all idea of struggle, it will be infinitely more
difficult than it was in two previously-named kinds of poetry to express
movement; yet this is an indispensable condition, without which poetry
can never act on men's souls. The most perfect unity is required, but
unity ought not to wrong variety; the heart must be satisfied, but
without the inspiration ceasing on that account. The solution of this
problem is properly what ought to be given us by the theory of the idyl.

Now, what are the relations of the two poetries to one another, and their
relations to the poetic ideal? Here are the principles we have
established.

Nature has granted this favor to the simple poet, to act always as an
indivisible unity, to be at all times identical and perfect, and to
represent, in the real world, humanity at its highest value. In
opposition, it has given a powerful faculty to the sentimental poet, or,
rather, it has imprinted an ardent feeling on him; this is to replace out
of himself this first unity that abstraction has destroyed in him, to
complete humanity in his person, and to pass from a limited state to an
infinite state. They both propose to represent human nature fully, or
they would not be poets; but the simple poet has always the advantage of
sensuous reality over the sentimental poet, by setting forth as a real
fact what the other aspires only to reach. Every one experiences this in
the pleasure he takes in simple poetry.

We there feel that the human faculties are brought into play; no vacuum
is felt; we have the feeling of unity, without distinguishing anything of
what we experience; we enjoy both our spiritual activity and also the
fulness of physical life. Very different is the disposition of mind
elicited by the sentimental poet. Here we feel only a vivid aspiration
to produce in us this harmony of which we had in the other case the
consciousness and reality; to