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Therefore, it is rather to deal with a particularlyversatile and very pervasive passions, ideas, and objects of faith(what are the religious, philosophical or metaphysical), or with integralintellectual and cultural universe like the one worn inyour mind Dante, Donne21 or Shakespeare. All human wealthbecame for these poets, all used for the good things in substancepoetic fire or a creative intuition. You have to understand that in both described cases disposedexclusively potency of art without anyone's interference. In the firstcase to the extent set before the artist the problem orthe terms and conditions limit the scope of his creative activity, but notpenetrate into it, remain entirely outside of it. In the second case so farbecause the human pulse from the beginning is inside the spherecreativity thus becoming one with the poetic intuition, spiritualizing potencyart and permeating it. Thus, the autonomy of art does not tolerateno derogation, on the contrary, it increases and intensifies, because the effect,rendered in this case, the art, like the influence of the sun and weather onthe plant and accepted by the art impulse acts in it as inspiration. But the theory of "art for the social group" doesn't care aboutsuch problems, nor the notion of the autonomy of art. She simply refusestake note of this autonomy: it Makes the social value, orpublic importance or public outcry things aesthetic orartistic value and moreover the highest.
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