Owing, however, to the reciprocally indifferent relation under which both sides confront each other, this association which binds the two sides together is, as we have already seen, no essentially explicit and necessary union; consequently the relation, such as it is, that is no actual reflection of objective fact, is rather a _product_ of _active mind_, which no longer even disguises this its fundamental character, but rather deliberately exposes it in the form of its representation. The very embodiment possesses this binding together of form and content, soul and body, under the guise of concrete _animation_[88], as essentially and explicitly the substantial union of both sides in the soul as in the body, in the content as in the form. In the case before us, however, what is presupposed by consciousness is the dislocation of the two sides, and consequently their association is the vivification of the significance simply for consciousness by means of a shape external to it, and an indication of a real existence, equally subjective in its character through the relation of the same to the general conceptions, emotions, and thoughts common to humanity. For this reason what is mainly emphasized in these forms of comparative art is the subjective art of _the poet_ in his creative capacity, and in complete works of art we have mainly in our attitude to this particular aspect of them to separate that which strictly is appurtenant to their subject-matter and its necessary embodiment from that which is attached to them by the poet as mere ornament and embellishment. Such accessory detail, which we cannot fail to distinguish, that is, consisting mainly of images, similes, allegories, and metaphor, is precisely that part of his work in virtue of which he earns his title to fame with most people, a tendency which is all the more common because it indirectly bears witness to the insight and subtlety which enables such critics to discover our poet and draw attention to that aspect of his invention which is so entirely his own. But for all that, as we have already observed, in genuine works of art such forms as those we are discussing can only be regarded as accessory, although we doubtless do find in previous works on _Poetics_ such incidental features treated as precisely those which go to make the poet.