its unique feeling tone, as I shall show presently, after I have
analyzed them.

Keeping in mind the motives which explain the structure of works of
art, I wish now to distinguish and describe the chief types. There
are, I think, three of these, of which each one may include important
special forms--unity in variety, dominance, and equilibrium.

Unity in variety was the earliest of the types to be observed and is
the most fundamental. It is the organic unity so often referred to in
criticism. It involves, in the first place, wholeness or individuality.
Every work of art is a definite single thing, distinct and separate
from other things, and not divisible into parts which are themselves
complete works of art. No part can be taken away without damage to the
whole, and when taken out of the whole, the part loses much of its own
value. The whole needs all of its parts and they need it; "there they
live and move and have their being." The unity is a unity of the variety
and the variety is a differentiation of the unity.[Footnote: Cf. Lipps:
_Aesthetik_, Bd. I, Drittes Kapitel.] The variety is of equal
importance with the unity, for unity can assert itself and work only
through the control of a multiplicity of elements. The analogy between
the unity of the work of art and the unity of the organism is still
the most accurate and illuminating. For, like the work of art, the
body is a self-sufficient and distinctive whole, whose unified life
depends upon the functioning of many members, which, for their part,
are dead when cut away from it.

The conception of unity in variety as organic represents an ideal or
norm for art, which is only imperfectly realized in many works. There
are few novels which would be seriously damaged by the omission of