" ....let the work be anything you like, but let it at least be one, single thing."

( Horace, begin of the Ars Poetica )

The meaning of unity is easy to explain in relation to a play-game: actions and dialogues have to make sense, in order for the entire play to make sense, thus to present as "a single thing". The “unity” of the play-game can be enhanced by optimizing dialog and action, adequate dressings of the actors, a proper decor of the stage, thus by applying pedagogical means, - means in their turn closely linked to the function of the mind.

The principle of unity in regard of music and the visual arts is not explainable in the same straight forward manner, as important aspects of the mechanisms of physiological perception are not fully known yet.

Investigating poems to identify eventually underlying rules and laws of art allows easily to recognize that the guiding and shaping elements of artistic expression are commonly used pedagogical means. grammatical rules and other measure, thus do not present special principles likely forming a specific theory of art.

As the brain has the task to process information independent of form and content, it is worthwhile to recognize that the ability to handle well structured information more efficiently, sets well the stage to perceive art in the marvelous and powerful way we do. Visual and auditory impressions have both defined areas of primary physiological perception, whereas the human language - presenting the most advanced part of the superimposed sensory integrating part of the nervous system - has no such areas Languages are common sense based intellectual structures. They need to be learnt in order to be understood. Differently, visual and auditory impressions are mostly interpreted similarly by individuals of different languages.

Music having likely originated as a support of vocal expression has no underlying intellectual structure in itself but in the auditoria system a well defined carrier, an assumption eventually applying in a correspondent manner also to the visual arts.

Character and meaning of an individual word are in strong dependence of the surrounding words. This is especially evident in regard of poetry, where attempts to achieve with minimal words maximal expression, exposes and contrasts the individual words and their interaction in a much more prominent way than conventional writing, affecting the creation of a poem eventually in a very unexpected way. Concise writing also exposes the inherent conflict between a language as a life event and the imposed grammatical rules.

Every phrase has content, tone and rhythm, which contrary to an eventually first impression, are highly interrelated. Phrases can e.g. form various forms of dialogs, which find in musical works of art their expression as e.g. fugue, contrapuntal notation and other principles and forms. The influence of rhythmic and metrical structures on organization and the emotional tone becomes especially evident in poems. Specific structures such as Haiku- and Sonnet-type of forms fit only a few languages others apply more broadly. Many poems are prone for musical intonation, the Gregorian-chants type of intonation e.g. being suitable for rather spiritually based poems, the Schubert-way of composing e.g. being more suitable for rather nature and vision based poetry. Singing instead of speaking affects the aspects of structure and order in decisive ways.

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